The First Month at the Piano by Mana-Zucca, published in 1935, is a pioneering piano method to be taught by rote, supporting sound before sight learning theories, to the pre-school student. It differs from the Suzuki method in that The First Month at the Piano uses short, repetitive patterns, intrinsic to the Edwin Gordon Music Learning Theory. The First Month at the Piano has been compared to educational theories and has been found to follow Lev Vygotsky's theory of scaffolding and Jerome Bruner's principles of structure, readiness for learning, and motivation. The First Month at the Piano has been shown to provide a wide variety of sensory experiences for the pupil and establish a comfort and familiarity with the instrument. After completing the method, the pupil will have a solid aural foundation at the piano and will be fully prepared for primer level notation. It is a highly adaptable method and modified versions were made from the originals which would be of interest to today's teachers of pre-school piano students. Incorporation of interactive MIDI with electronic keyboards would enhance the students' learning experiences and be a direction to follow for future use of this method.

Title from first page of PDF document. Includes bibliographical references (p. 69-73).

[pt] Essa tese investiga a relação entre o espectador e a cena a partir de algumas experiências de dança contemporânea. Procura-se entender como os artistas trabalhados criam, cenicamente, novos modos de fazer circular afetos e sentidos convidando o espectador a se despir das posições a que tradicionalmente está atrelado, seja como alienado, seja como hermeneuta. A trajetória da coreógrafa e cineasta Yvonne Rainer é o ponto de partida para a reflexão sobre a complexa relação entre a cena e o espectador, na qual as dimensões política, afetiva e imaginária da experiência artítica se tensionam. Rainer pesquisa, desde os anos 60, formas do corpo em cena resistir à captura do olhar do espectador, através da valorização de sua materialidade. A tese procura pensar, portanto, a partir da trilha aberta pela coreógrafa, como essa noção de materialidade não se entende como uma forma que possa ser significada, mas como uma força que desestabiliza a ordem das representações e impele a novos modos de produzir e refletir acerca do sentido do mundo. A partir dos trabalhos de Rainer, Jérôme Bel e Ann Teresa de Keersmaeker, Lia Rodrigues e Israel Galván, em diálogo com o pensamento contemporâneo a respeito da relação entre arte, corpo e política, a tese se propõe a pensar, por fim, como a exposição cênica da vulnerabilidade pode ser concebida como uma estratégia de criação potente. / [en] The present thesis investigates the connections between the spectator and the scene through some experiences of contemporary dance, trying to understand how the artists here studied create, scenically, new modes of circulation of affects and senses. Thus, the spectator is invited to abandon its traditional positions in which he appears either as an alienated participant either as hermeneutist interpreting the codes of the scene. The trajectory of the choreograph and film maker Yvonne Rainer is the starting point to question the complex relationship between the scene and the spectator in wich the political, affective and imaginary aspects of the artistic experience are in permanent tension. Rainer searches since de 60 s ways to make the body resist to the capture of the spectator s gaze, by valuing it s intrinsic materiality. Trough the path opened by Rainer, the thesis wishes to understand materiality not as a form that can be signified but as a force that destabilizes the logic of representation and impele in the direction of new forms of producing and thinking about the sense of the world. Through the works of the performers Yvonne Rainer, Jérôme Bel, Ann Teresa de Keersmaeker, Lia Rodrigues and Israel Galván in dialogue with contemporary thinking about the connections between arts, politics and body the thesis intends, finally, to think of how the scenic exposure of vulnerability can be conceived as a powerful strategy of artistic creation.

Em Portugal e Castela, entre fins do século XV e ao longo do século XVI, importantes espaços da monarquia foram ocupados pela Ordem de São Jerônimo. A presente tese ocupa-se de tratar dos incentivos dos monarcas desses dois reinos às casas jerônimas como parte da propaganda régia. Em especial trataremos dos dois monastérios mais favorecidos pelas monarquias: Santa Maria de Belém e San Lorenzo El Real del Escorial. Os dois edifícios foram construídos por iniciativa real, em momentos de alargamento do poderia desses reinos em outros continentes e em contextos em que a possibilidade de união dos reinos peninsulares era vislumbrada, inicialmente por D. Manuel e depois por Felipe II. A pesquisa se ocupou em estudar documentos iconográficos, textuais e de cultura material, em especial, buscando compreender o discurso expresso nos edifícios aliados ao discurso oficial escrito sobre o governo desses monarcas. / In Portugal and Castile, between fifteenth century and sixteenth century, important spaces of the monarchy were occupied by the Order of St. Jerome. The present thesis deals with the incentives of the monarchs of these two kingdoms to monasteries of St. Jerome as part of the royal propaganda. In particular we will treat the two monasteries most favored by the monarchies: Santa Maria de Belém and San Lorenzo El Real del Escorial. These two buildings were built on the initiative of kings, at times of enlargement of the kingdom and in contexts in which the possibility of union of the peninsular kingdoms was glimpsed, initially by D. Manuel and later by Felipe II. The research was focused on studying iconographic, textual and material culture documents, in particular, seeking to understand the discourse expressed in the buildings allied to the official written discourse on the government of these monarchs

<p>The Theory of Applied Mind of Programming (TAMP) provides a new model for describing how programmers think and learn. Historically, many students have struggled when learning to program. Programming as a discipline lives in logic and reason, but theory and science tell us that people do not always think rationally. TAMP builds upon the groundbreaking work of dual process theory and classical educational theorists (Piaget, Vygotsky, and Bruner) to rethink our assumptions about cognition and learning. Theory guides educators and researchers to improve their practice, not just their work but also their thinking. TAMP provides new theoretical constructs for describing the mental activities of programming, the challenges in learning to program, as well as a guidebook for creating and recognizing the value of theory.</p> <p>This dissertation is highly nontraditional. It does not include a typical empirical study using a familiar research methodology to guide data collection and analysis. Instead, it leverages existing data, as accumulated over a half-century of computing education research and a century of research into cognition and learning. Since an applicable methodology of theory-building did not exist, this work also defines a new methodology for theory building. The methodology of this dissertation borrows notation from philosophy and methods from grounded theory to define a transparent and rigorous approach to creating applied theories. By revisiting past studies through the lens of new theoretical propositions, theorists can conceive, refine, and internally validate new constructs and propositions to revolutionize how we view technical education.</p> <p>The takeaway from this dissertation is a set of new theoretical constructs and promising research and pedagogical approaches. TAMP proposes an applied model of Jerome Bruner's mental representations that describe the knowledge and cognitive processes of an experienced programmer. TAMP highlights implicit learning and the role of intuition in decision making across many aspects of programming. This work includes numerous examples of how to apply TAMP and its supporting theories in re-imagining teaching and research to offer alternative explanations for previously puzzling findings on student learning. TAMP may challenge conventional beliefs about applied reasoning and the extent of traditional pedagogy, but it also offers insights on how to promote creative problem-solving in students. </p><br>

The National Theatre's Frankenstein is not the first time Shelley's novel has been adapted for the stage, but it is the first time a stage adaptation has returned the popular story to its source material's feminist themes. Departing from the iterations that portrayed Victor Frankenstein as a Byronic hero, Nick Dear's adaptation has re-designed Frankenstein to be misogynistic and calloused. His new nature is best observed in the scene wherein Frankenstein presents the Woman-Creature he's built for his first Creature. She is naked, silent, submissive, and viciously dismembered at the end of the scene. While such submissiveness might justifiably be criticized by a society that has become incredibly concerned for the representation of women in media, this scene has striking similarities to several performance art pieces of the 1960's and 1970's. Building on an understanding of how these pieces function, the Woman-Creature stops being problematic, and becomes poignant. This thesis compares the Woman-Creature's scene to three particular pieces: Marina Abramovic's "Rhythm 0,"Carolee Schneeman's "Meat Joy,"and Suzanne Lacey's "Three Weeks in May."While not a performance art piece itself, this particular scene in Frankenstein has similar purposes, mainly to show the consequences of a social structure that places men as the dominant leader. By not shying away from the visceral nature of these consequences, this production of Frankenstein shocks the audience and reminds them of the harsh realities of the patriarchal structure still seen today.

No description available.

The purpose of this study is to, within an artistic process, investigate a dance practice and how the process is enriched by the interaction with three experts within the field of dance pedagogy. Furthermore, it discusses aspects from the process that can be applied in dance education. Methods that are used is autoethnographic perspectives and self-reflective writing in the studio before inviting experts to three unique practical interviews. The results are an intense movement analysis from the work in the studio and deep interaction on the work with three interviews that highlight things such as bodily exploration, musicality and reflection on practice. The study’s conclusion is that a method for ballet class inspired by Creative movement can enrich dance education with reflexivity, but the study also highlights the importance of repetition of movement. / <p>En praktisk föreläsning av arbetet hölls 16 maj i studio 16 på Brinellvägen 58.</p>

Création Dans le roman Sous la Tiffany, Mikaël Langevin, le personnage principal, vit une pénible remise en question. Dans les derniers mois, il a délibérément sabordé son couple, sa vie sociale et même sa santé en misant tout sur sa réussite professionnelle en tant qu'enseignant. Tout pour une carrière où, selon sa perception, il ne réussit pas comme il l'aurait souhaité. Une nuit de la fin d'août, attablé devant des dizaines de cahiers noircis de sa main, il revisite un journal tenu chaque soir de l'été qui s'achève, un été pendant lequel de nombreuses fenêtres sur le passé auront été ouvertes, puis refermées. Le jour poindra dans quelques heures, il le sait bien. Mais nul éclairage ne le sert mieux que celui de la vieille Tiffany. Réflexion La deuxième partie, une réflexion d'ordre narratologique sur la dynamique de l'écart et ses procédés (analepse, prolepse, sommaire, scène, pause, ellipse, digression), vise à expliciter ce qui m'a tant séduit dans Hotaru, d'Aki Shimazaki, et dans L'Attrape-coeurs, de Jerome David Salinger, deux romans primés1 où les procédés d'écart sont habilement exploités. J'indiquerai aussi où, comment et pourquoi j'ai utilisé ces procédés dans Sous la Tiffany. Le but, au final, est de montrer comment la dynamique de l'écart contribue à accrocher le lecteur et à enrichir le récit, à conférer au texte le caractère évocateur si présent dans les oeuvres littéraires de Shimazaki et de Salinger.

Le genre de la chronique, inauguré, chez les chrétiens latinophones, par saint Jérôme (qui, lui-même, traduisit et compléta, vers 380, les Canons chronologiques d'Eusèbe de Césarée), a longtemps été tenu, du moins en France, et malgré son foisonnement remarquable, comme une forme historiographique tout à fait mineure, dont les notations laconiques apportaient peu à notre connaissance des événements et de leur perception par les contemporains. Pourtant, les trois premiers continuateurs de Jérôme : Prosper d'Aquitaine, l'"Anonyme gaulois de 452", et l'évêque galicien Hydace, révèlent, à l'analyse, une conscience aiguë des transformations majeures qui affectent l'Occident romain au Ve siècle, prélude à l'émergence des "royaumes barbares". Le présent travail tente de réévaluer l'intérêt de telles sources : tout en examinant la structure et les caractères de leurs chroniques respectives, il s'attache, plus globalement, à approfondir la réflexion sur le sens que ces auteurs donnèrent à leur époque, à la croisée de l'Antiquité finissante et du très haut Moyen Age. L'étude s'appuie sur des textes revus, avec traductions françaises intégrales et inédites. / The chronicle genre, initiated among Latin-speaking Christians by Saint Jerome (who translated and supplemented Eusebius of Caesarea's Chronological Canons, ca. 380 CE), has been regarded for a long time – at least in France, and despite its remarkable flowering – as a very minor form of historiography : its laconic notes are thought to be of meagre interest for our knowledge of events and how contemporaries understood them. However, the first three continuators of Jerome : Prosper of Aquitaine, the "Gallic Anonymous of 452", and the Galician bishop Hydatius, as a matter of fact, reveal an acute sense of the major transformations affecting the Roman West in the fifth century – that is, the dawn of the "Barbarian Kingdoms". This work attempts to offer a reappraisal of this kind of sources : while discussing the structure and characteristics of each chronicle, it is more generally aimed to investigate more thoroughly the significance these authors attached to their own time, at the crossroads between later Antiquity and the earlier Middle Ages. The study is based on revised texts, with fresh and unabridged translations into French.