My main research was to write a theatrical work combining Japanese text with music that is to be performed as ‘shadow play' theatre. This was my first attempt to create such a large-scale work, writing both the music and the text. There have been discoveries during the process of working on this large project. Most significant was my awareness of what makes my creation more ‘individual' or ‘original' as a composer. Personal experiences and background are basically reflected on determinations of what is to be written next and how to process materials. In my case, these determinations often come out of my experience of the mixed cultural environment which is that of Japan, even if it is not my intention to be ‘Japanese'. Among the elements behind Japanese culture, I discovered key words which are time, space, colour and nuance, and these, particularly, became my strong concerns. The portfolio comprises seven works which I composed during the research period, which was from 2004 until 2010. The first part of this commentary will be a description of my thoughts on composition, particularly on what made my works individual and original. In the second part, I will be focusing on the details of my main work Kosatsuki for shadow play. The portfolio comprises the following seven pieces. • dialogues for ensemble (2004) • The brother sun, the sister moon for cello and piano (2005) • In the Gray Dawn for orchestra (2006) • The moon out of the blue for ensemble (2007) • Echoes from the inland sea for string quartet (2007) • Song of the Muro Women for voice and piano (2008) • Kosatsuki for shadow play theatre (2010) comprising a script and a score Recordings of the following pieces are also found on the CD enclosed. [mp3 files encoded and apended here] • dialogues for ensemble (2004) • The brother sun, the sister moon for cello and piano (2005) • The moon out of the blue for ensemble (2007).

Made available in DSpace on 2016-04-28T18:22:51Z (GMT). No. of bitstreams: 1 Cleusa Leite Lopes.pdf: 615169 bytes, checksum: 0add027faa482acf414ed12b44fc87cf (MD5) Previous issue date: 2014-06-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Undergraduate students start the ESP course at university with representations that influence the process of language learning. A more consistent analysis of those representations and their possible changes has motivated this research. This study aimed to investigate the transformations that occurred with the representations of students of a Tourism and Hotel Undergraduate Program. The research was carried out by comparing the previous representations of English language and initial and final representations in order to find out which of them reflected some of the notions of the Language for Specific Purposes approach. This study is grounded on the concepts of Social Representation discussed by Moscovici (2000/2011), Jodelet (1989/2001); language of emotions, by Ekman (2011); Languages for Specific Purposes (LSP) approach, of which English for Specific Purposes makes part, discussed by Hutchinson and Waters (1987-1996), Dudley-Evans and St. John (1998) and on The Brazilian ESP Project, by Celani, Holmes, Scott and Ramos (1988), Celani et al. (2005) and Ramos (2005, 2008) and on a brief view of new directions for Specific Purposes research (BELCHER et al., 2011). It is a case study (Stake, 1995) and was developed at a private higher education institution, located in the state of São Paulo, Brazil. The participants were thirteen students enrolled in the Tourism and Hotel Undergraduate Program. The data were collected using one questionnaire at the beginning and one questionnaire at the end of the discipline, one report at the beginning and one report at the end of the discipline, and also by interviewing the students at the end of the discipline. The results showed that there were expressive changes in the students' representations and that the Language for Specific Purposes approach is related to these changes. This research indicates the importance of the teacher s awareness regarding his/her students representations. This comprehension may contribute better classroom management, considering the importance of individuals representations within a social group, in a specific context in which the learning process takes place. It may also provide the student with the possibility of participating in a new experience and, based on that experience, change a situation or a felling that disturbs him/her. I consider these concerns relevant for development process of higher education students as professionals / Os alunos de ensino superior iniciam a disciplina Inglês Instrumental trazendo consigo representações que influenciam o processo de aprendizagem da língua. Uma análise mais consistente dessas representações e suas possíveis mudanças motivou o desenvolvimento desta pesquisa. O objetivo foi investigar as transformações ocorridas nas representações de alunos universitários matriculados em um Curso Superior de Turismo e Hotelaria, com base na comparação entre as suas representações prévias acerca da língua inglesa, e iniciais e finais acerca da disciplina Inglês Instrumental. Esta pesquisa está fundamentada no conceito de Representação Social (MOSCOVICI, 2011; JODELET, 1989/2001), na linguagem das emoções (EKMAN, 2011), na Abordagem Instrumental, da qual Inglês para Fins Específicos é parte integrante (HUTCHINSON e WATERS, 1987/1996; DUDLEYEVANS e St. JOHN, 1998), no Projeto Ensino de Inglês Instrumental em Universidades Brasileiras, a partir dos autores Celani, Holmes, Scott e Ramos (1988), Celani et al. (2005) e Ramos (2005, 2008), e em um breve panorama das novas direções da pesquisa em ESP (BELCHER et al., 2011). A pesquisa insere-se no quadro metodológico qualitativo, cracterizando-se como um estudo de caso (STAKE, 1995) e foi desenvolvida em uma instituição de educação superior particular, situada em um município da Grande São Paulo. Os participantes foram treze alunos devidamente matriculados no Curso Superior de Turismo e Hotelaria. Os dados foram coletados por meio de questionários iniciais e finais, relatos iniciais e finais e, também, entrevistas semi-estruturadas ao final da disciplina. Os resultados obtidos demonstram que houve transformações expressivas nas representações dos alunos, decorrentes da abordagem instrumental. Esta pesquisa evidencia a importância do professor conhecer as representações de seus alunos para melhor desenvolver o trabalho em sala de aula à luz da reflexão sobre a importância da representação do indivíduo, enquanto parte de um grupo social, inserido em um contexto específico onde o processo de aprendizagem acontece. Pode, também, propiciar ao aluno a oportunidade de participar de uma experiência nova e, a partir dessa experiência, mudar uma situação ou um sentimento que o incomode. Considero essas preocupações pertinentes ao processo de formação de alunos de nível superior como profissionais

The purpose of this study is to collect a variety of conducting texts and resources and assess which texts, if any, suggested pedagogical techniques that make appropriations for various learning styles of individuals in the ensemble. The term learning styles is derived from Howard Gardner's Theory of Multiple Intelligences wherein he makes the assertion that every person possesses the nine intelligences and that each person has a natural disposition to at least one intelligence (or learning style). After having evaluated numerous conducting texts and resources, there exists a lack of assessing and teaching to learning styles. Most conducting curricula do not give attention to the idea that the musicians and students represent many learning styles and need to be provided with a variety of examples to enhance their understanding of the music. Consequently, enhancing understanding raises the level of their musicianship and elevates the overall quality of the ensemble and music program. The most significant contributor in music education to integrating pedagogical techniques that address a broad range of learning styles is Edward S. Lisk. A former band director and now an internationally renown clinician and conductor, Mr. Lisk has written several books on alternative rehearsal strategies. His most recent book, The Creative Director: Conductor, Teacher, Leader, briefly explains how the Theory of Multiple Intelligences is uniquely suited for both the conductor and the students. Mr. Lisk's claims regarding the benefits of teaching to multiple learning styles focus on individual enhancement and understanding of playing a instrument and to provide compelling evidence to administrators, parents, and the community to show the inherent value of a music program. This study acknowledges and supports Lisk's observations and claims, but sets out to enhance musical understanding and performance levels through rehearsal techniques that address multiple learning styles. Before providing a model for incorporating pedagogical techniques that address multiple learning styles, assessment methods of student's MI (multiple intelligences) will assist the conductor in determining what types of intelligences the students possess. When this information is gathered, a conductor/music educator can begin to infuse examples into the rehearsal. The final goal of this study is to present several rehearsal strategies categorized by each MI as a model as to how conductor/educators can incorporate pedagogical strategies into their rehearsals to draw each student into a deeper understanding of the music, raise the level of musicianship, which promotes more expressive music-making. These rehearsal strategies can be utilized with technical or expressive issues. For example, a director is teaching the string section the difference between playing accompanimental motor rhythms in Mozart to those of Beethoven. For the visual-spatial learner, drawing a diagram on the board showing the trajectory shape of the bow across the string can assist the student by seeing what each bow stroke looks like. For a bodily-kinesthetic learner, showing what each bow stroke looks like, allowing the student to try it, and solidifying understanding with feeling the difference of each stroke and recognizing how each sounds. As an additional strategy to the former, the director could have each section demonstrate each bow stroke and ask the other students for feedback that incorporates a technique for the interpersonal learning style. Further examples with suggestions for expressive aspects of music for various learning styles are also included.

This investigation into instrumental music teaching at the tertiary (conservatorium) level sought to observe and describe typical teacher and student behaviour in this under-researched educational setting. The aim of the study was to examine a wide range of areas associated with instrumental music teaching in order to identify patterns of behaviour exhibited by teachers and students and to define teaching and learning styles present in advanced applied music teaching. After a review of literature on teaching in general and on music teaching in particular, an observational instrument for individual instrumental music lessons was developed and refined in pilot studies. 12 prominent Australian teachers were videotaped teaching 24 students, with the sample being balanced geographically, institutionally, by instrument (three mainstream groups: piano, strings and winds) and by gender (equal numbers of male and female teachers and students). Steps were taken to observe realistic teaching of typical students and to minimise the observer???s intrusion into the lesson dynamics. The videotaped lessons were analysed using an observational instrument and the data was subjected to various statistical analyses. Results are reported according to five main areas (lesson structure, lesson content, teaching methodology, teacher/ student relationship, and teaching and learning styles) and discussed with reference to existing literature. The conclusions of this study enhance current understanding of studio music teaching, by supporting many of the findings of previous research and substantiating their application to advanced instrumental music teaching. This study provides new insights into the underlying structure of instrumental music lessons, the primacy of technique in terms of lesson content, the use of teaching strategies such as demonstration, evaluation and questioning, gender differences between teachers and between students, and the types of teaching and learning styles that are prevalent in conservatorium settings. Findings contribute to and extend existing research into applied music teaching.

Thesis (M.M.)--University of Wisconsin--Madison, 1955. / Typescript. Title from title screen (viewed Feb. 21, 2007). Includes bibliographical references (leaves 122-127). Online version of the print original.

Although neural plasticity has traditionally been studied within the brain, evidence indicates that the spinal cord is quite plastic as well. Spinal neurons can even support a simple form of instrumental learning (Grau et al., 1998), as indicated by spinally transected rats’ ability to exhibit an increase in hind limb flexion duration when limb extension is associated with shock (controllable shock). If limb extension is not associated with shock (uncontrollable shock), a learning deficit develops. Recent research indicates that other forms of plasticity, such as long-term potentiation and central sensitization, do not depend on neural activity alone, but also on glial cells. I examined whether glial cells are also necessary in spinal instrumental learning and the learning deficit. Therefore, two glial inhibitors were selected: minocycline and fluorocitrate. To examine the role of glial cells in spinal instrumental learning, rats received intrathecal minocycline, fluorocitrate, or saline prior to testing with 30-minutes of controllable leg-shock. Results indicate that both drugs dose-dependently reduced acquisition, with higher doses resulting in shorter response durations. Once the response was acquired, fluorocitrate did not alter response maintenance. This suggests that glial cells are involved in the acquisition, but not the maintenance, of spinal learning. To examine the role of glial cells in the spinal learning deficit rats were given intrathecal minocycline, fluorocitrate, or saline prior to testing with 6-minutes of uncontrollable tail shock or no shock. Twenty-four hours later all rats were tested with 30-minutes of controllable leg-shock. Results indicated the learning deficit induced by uncontrollable shock was prevented by prior administration of fluorocitrate. Minocycline did not prevent the deficit; moreover, it appears that even in the absence of shock, minocycline caused a learning deficit. Overall, this data indicate that glial cells are necessary for the acquisition of spinal instrumental learning and the learning deficit. Furthermore, it provides further evidence for the role of glial cells in plasticity.

Previous work has shown that the spinal cord is capable of supporting a simple form of instrumental learning. Subjects that receive controllable shock to an extended hind limb will increase the duration of limb flexion over time in order to reduce net shock exposure. Exposure to as little as 6 minutes of uncontrollable stimulation prior to instrumental testing can elicit a long-lasting learning deficit. Prior work has suggested that this deficit may reflect an overexcitation of spinal neurons akin to central sensitization, and that learning is inhibited by the saturation of plasticity. The experiments in this dissertation were designed to test the role of the cytokine tumor necrosis factor alpha (TNFa) in the induction and expression of the deficit. It is believed that the inflammatory properties of TNFa may mediate the excitatory processes that lead to maladaptive spinal functioning. Experiments 1 and 2 tested the necessity of endogenous TNFa in the deficit produced by uncontrollable shock. These experiments showed that the inhibition of endogenous TNFa blocks both the induction and expression of the shock-induced deficit, suggesting a necessary role for TNFa in mediating the inhibition of spinal learning. Conversely, Experiment 3 was designed to test the sufficiency for TNFa in producing a learning deficit. I found that treatment with exogenous TNFa undermined spinal learning in a dose-dependent fashion, whether given immediately, or 24 hours prior to testing. Experiment 4 demonstrated that the long-term TNFa-induced deficit is mediated by TNFa receptor activity, as a TNF inhibitor given prior to testing blocked the expression of this deficit. As TNFa has been shown to be predominantly of glial origin, I next assessed the role that glia play in the TNFa-induced deficit. Experiment 5 showed that inhibiting glial metabolism prior to TNFa treatment blocked the capacity for TNFa to produce a long-term deficit. Experiment 6 assessed the potential for TNFa inhibition to block the deficit induced by lipopolysaccharide (LPS), an agent known to induce TNFa. TNFa has also been shown to drive neural excitation by increasing the trafficking of calciumpermeable AMPA receptors to the active zone of the post-synaptic bouton. Experiment 7 showed that selectively antagonizing these receptors prior to testing blocked the TNFa- induced deficit, suggesting a possible post-synaptic mechanism by which TNFa exerts its effects. Finally, histological evidence was sought to reinforce the previous behavioral findings. Experiment 8 used quantitative RT-PCR to assess the differential expression of TNFa mRNA in uncontrollably shocked subjects as compared to those receiving controllable shock and no shock. To determine concentrations of TNFa protein, an ELISA was run in Experiment 9 comparing uncontrollably shocked subjects to unshocked controls.

English Abstract Tudor court gives support completely to the cultural activities, and court¡¦s members have qualification for musical accomplishment that produced an effect on the whole surroundings. It builds close relations between the development of instrumental ensemble music and ceremonies, entertainment, and the living requirement. Therefore, the thesis intends to study the relationship between the court entertainment at early Tudor and its instrumental ensemble music. The content consists of four chapters, in addition to the introduction. Chapter one is the general discussions about the contemporary polity, economy, society, religion, and cultural context from the end of the fifteenth-century to the early of the sixteenth-century. In the second chapter contains the details of the court entertainment, the third chapter focuses on the thirty-five pieces from Henry ¢À¡¦s Book, which are the absence of text , and the fourth draws a conclusion. From Middle Ages to Renaissance, the situation in England changes from variety aspects such as politics, economy, society, religion, and culture, But it provides a favorable atmosphere with the instrumental ensemble. The music is indispensable to the court environment of the early Tudor. The minstrel¡¦s number and ability represent the status of the employer. Moreover, the instrumental ensemble what musical type is proper for the ceremonies, entertainment, and performance. The thirty-five pieces are considered as embryonic form that pieces for instrument, and differed in length and style. They are classified in three: one is ¡§puzzle canon¡¨, another is ¡§consort¡¨, and the rest is arrangement of the voice or the special technique pieces. Because most of which are simple chord style, it is demonstrated that new noblemen are fond of the pieces. However, the simple style of the early instrumental ensemble music is distinct from the polyphonic style of the consort afterwards. The style¡¦s change attributes to the rising new nobility, the Reformation, the trend of Renaissance thought, the patron of the Royal, and the import of the foreign music, player, and instrument. In a word, the musical phenomenon that is the variety of the style reflects the changes in the society of the Tudor.

Reproduction de : Thèse de doctorat : Sciences de l'éducation : Lyon 2 : 2002. / PEI = programme d'enrichissement instrumental. Titre provenant de l'écran-titre. Bibliogr. Index.

Thèse doctorat : Sciences de l'éducation : Lyon 2 : 1991. / Titre provenant de l'écran-titre. Bibliogr.