Indonesia signed CEDAW 1980 and ratified it in 1984 making it one of the first countries in South East Asia to do so. Despite legislation and governmental efforts women are still discriminated against in areas such as access to education, resources and credit. Income generation and women´s empowerment have been recognized on an international level as important strategies to enhance gender equality and in the process of alleviating poverty. By using the method of the focus group interview this study examines the process of empowerment for a group of women who take part in an income generation program in South Lombok, organized by a local NGO which uses the CAF methodology of self funded communities. Using Jo Rowlands (1997) empowerment model to analyze the collected data the study identifies encouraging and inhibiting factors to the empowerment process and the changes the process have generated. The study finds that the income generation program provides an important motivation for the women to join and the women experience some empowering impacts due to access to resources. However, it is the educational aspects of the program as well as the social support system that the self-help groups provide that contain the most empowering elements.

The purpose of this study is to create a performance guide for Young-Jo Lee's violin works, Honza Nori for solo violin and Doori Nori for violin and piano, and to introduce his work to a wider audience. This study contains a biography of the composer and a compositional analysis that shows how Lee includes the concepts and techniques of Korean traditional music in his violin pieces. In this analysis, I will identify the composer's characteristic style, inspired by Korean compositional techniques, traditional Korean instruments and their characteristics. Additionally, the incorporation of Asian philosophy, and Taoism in particular, into Lee's music will be examined and cited throughout, demonstrating how Lee employs these ideas to create compositional techniques that differ from other twentieth century Asian composers. Lee is one of the most significant Korean composers living today and is known for combining Eastern and Western musical styles. He utilizes the core of Korean traditional music and performance practice and applies this to his compositions in a distinctive style that amalgamates both Western and Eastern (particularly Korean) musical traditions. Lee creates a balance between his native heritage and his knowledge of Western traditions, and he extracts his distinctive compositional ideas from various genres of Korean music, such as court royal music, traditional folk music, harvest music, Pansori, Samul nori, and Korean zither music. Lee is also interested in Western compositional techniques such as twelve-tone technique and chromaticism, which he combines with his knowledge of Korean traditional music and its techniques to create various works in a unique and distinctive fashion.

Even though Western music appeared only about one hundred years ago in Korea, it was rapidly popularized in the country. Since the Korean War (1950-1953), South Korea embarked on a path of remarkable economic growth and political stability. The appreciation of Western music, too, grew quickly. Since the 1960s, many talented Korean composers have been recognized around the world. However, scholarly studies discussing their artistry and music are scarce in Western countries. Young Jo Lee, one of the leading composers in Korea today, has a growing reputation. Lee has been invited to many festivals, concerts, and conferences where his works have been staged internationally. A primary compositional feature of his music is the combination of Korean traditional musical gestures with Western compositional elements. The Korean Dance Suite, one of Young Jo Lee’s most important piano works, reveals Lee’s uniqueness as a national Korean composer. The study examines the Korean Dance Suite (“Heaven Dance,” “Children’s Dance,” “Lovers Dance,” “Buddhist Dance,” and “Peasant Dance”) for the features of Young Jo Lee’s innovative and dramatic sound elements. The purpose of this study is to analyze the pieces and to trace Lee’s borrowings from Korean traditional music as well as the ways in which he adapts them to Western musical ideas. This study helps performers create an accurate interpretation when presenting these pieces. In addition, these little-known works will benefit teachers and students in creating an expanded repertoire. / School of Music

Este memorial investiga os processos composicionais de quatro peças compostas durante o curso de mestrado em composição na Universidade Federal do Rio Grande do Sul entre 2004 e 2005. São feitas considerações sobre as motivações estéticas e estruturais dessas peças, especialmente as relacionadas com o princípio oriental denominado jo-ha-kyu, o teatro nô japonês e a arte marcial japonesa iaijutsu. O princípio jo-ha-kyu, bem como sua manifestação no teatro nô e no iaijutsu, foi utilizado como impulso criativo e norma global para o seccionamento interno, o caráter e a ordem das peças para o recital de mestrado. Este trabalho também apresenta as conseqüências dessas motivações estéticas e estruturais para a coerência formal das peças.

Este memorial investiga os processos composicionais de quatro peças compostas durante o curso de mestrado em composição na Universidade Federal do Rio Grande do Sul entre 2004 e 2005. São feitas considerações sobre as motivações estéticas e estruturais dessas peças, especialmente as relacionadas com o princípio oriental denominado jo-ha-kyu, o teatro nô japonês e a arte marcial japonesa iaijutsu. O princípio jo-ha-kyu, bem como sua manifestação no teatro nô e no iaijutsu, foi utilizado como impulso criativo e norma global para o seccionamento interno, o caráter e a ordem das peças para o recital de mestrado. Este trabalho também apresenta as conseqüências dessas motivações estéticas e estruturais para a coerência formal das peças.

Este memorial investiga os processos composicionais de quatro peças compostas durante o curso de mestrado em composição na Universidade Federal do Rio Grande do Sul entre 2004 e 2005. São feitas considerações sobre as motivações estéticas e estruturais dessas peças, especialmente as relacionadas com o princípio oriental denominado jo-ha-kyu, o teatro nô japonês e a arte marcial japonesa iaijutsu. O princípio jo-ha-kyu, bem como sua manifestação no teatro nô e no iaijutsu, foi utilizado como impulso criativo e norma global para o seccionamento interno, o caráter e a ordem das peças para o recital de mestrado. Este trabalho também apresenta as conseqüências dessas motivações estéticas e estruturais para a coerência formal das peças.

There seemed to be an urgent need for the improvement of attitudes toward home experiences from the viewpoints of both homemaking teachers and homemaking pupils. Also, there appeared to be a need for the improvement of procedures used in planning, reporting, and evaluating home experiences. Because of these needs this study was made during the 1961-1962 school year in the Saint Jo High School, Saint Jo, Texas.

No description available.

Thesis (Ph.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / The sedimentary facies of the Upper Silurian and Lower Devonian Madrid, Carrabassett, and Seboomook Formations, exposed on the northwestern limb of the Kearsarge-Central Maine Synclinorium, belong the following facies categories: (1) sandstone-rich turbidites, (2) pelitic turbidites and related hemipelagites, and (3) disrupted facies. Lithofacies within each formation are organized into one or more descriptive facies associations--these are the: (1) massive sandstone, (2) thickbedded turbidite, (3) thin-bedded turbidite, (4} chaotic, (5) massive-pelite, and (6) laminated-pelite facies associations. Where strata are well exposed, and sedimentary structures and bed geometries are discernible, these descriptive facies can be discussed in terms of one or more interpretive associations (e .g. channel and channel-margin facies associations.) The Devonian Carrabassett Formation is the youngest widespread formation exposed in the Kearsarge - Central Maine Synclinorium. In the Jo-Mary Mountain quadrangle and surrounding area, the Carrabassett Formation is a complex facies assemblage dominated by fine-grained turbidite and chaotic facies. The underlying Upper Silurian Madrid Formation is composed largely of sandstone- and siltstone-rich turbidites. The younger Seboomook Formation is characterized by pelitic turbidite and related hemipelagic facies. A facies analysis of the Carrabassett and underlying Madrid Formations indicates that sediments were derived from eastern sources and deposited in northwesterly-migrating slope and foredeep environments during the Late Silurian and Early Devonian. Sedimentation is believed to have been partly diachronous, becoming progressively younger toward the northwest. Short term penecontemporaneous deposition probably occurred in different settings, such as along the axis of the foredeep basin (Madrid Fm.) and lower- to base-of-slope environment (Carrabassett Fm.). Olistostromes, shed from the lower slope, and thir bedded turbidites dominated later stages of basin sedimentation when the source of coarse clastics, supplied from the northeast, was shut off during the Early Devonian. These environments are interpreted in terms of an accretionary complex contemporaneous with initial stages of compression during the Acadian orogeny. / 2031-01-01

Since the 1960s, several gifted Korean composers, including perhaps most notably Young Jo Lee (b. 1943), have been internationally acclaimed for their work. In Western countries, however, there has been a scarcity of academic studies examining the artistry of the music of these Korean composers. Nonetheless, as one of today's most recognized composers in Korea, Young Jo Lee has been invited to numerous international concerts, conferences, and festivals where his works have been played and discussed. A salient feature of his compositions is the fusion of Korean traditional music and the elements of Western compositions, such as in, for one distinctive example, his piano composition, Piano Honza Nori. This musical study describes and analyzes how Lee integrates Korean traditional elements with Western musical ideas in Piano Honza Nori. Results of this study will contribute to the limited literature on the analysis of contemporary piano composition that integrates Korean traditional elements.