Eva Richterová - Early reading skills development in children with specific language impairment This study investigated the development of early reading skills in children with specific language impairment within a psycholinguistic framework. The investigation is based on theories concerning linguistic and cognitive skills which play a crucial role in the development of reading skills. This approach is utilized to identify groups which are at risk of difficulties in literacy acquisition as a result of language impairment. Theoretical background of reading development in children with SLI is presented, in addition to current knowledge about the relationship between language and reading skills. Studies on SLI highlight the need of longitudinal investigations, which enable better understanding of the relationship between literacy development and preliteracy skills. The aim of the study was to provide a systematic description of the reading skills development in children with SLI from first to fourth Grade. A group of 25 children with SLI was repeatedly investigated in terms of their reading skills (decoding and reading comprehension) and preliteracy skills. Assessment of language and cognitive skills was also carried out and involved phonological awareness, rapid authomatised naming, and letter...

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / La problématique de cette thèse concerne le lexique descripteur de timbre, ses définitions, ainsi que les stratégies d’enseignement de la production sonore à la guitare classique. Notre méthodologie est issue de la recherche par les méthodes mixtes, en ce sens qu’elle combine à la fois des données qualitatives et quantitatives, tandis que nos méthodes relèvent de différentes disciplines. En effet, la présente recherche est ancrée dans le domaine de la musicologie de l’interprétation, alors qu’elle porte plus exactement sur la conceptualisation des nuances de timbre à la guitare classique par les guitaristes classiques. La construction de cette recherche repose sur trois études distinctes. La première de ces études porte sur l’analyse d’adjectifs employés pour décrire les nuances de timbre ainsi que leurs définitions d’après des guitaristes classiques. Les résultats démontrent que la construction du lexique descripteur de timbre se rapporte principalement à la matière, renforçant ainsi la conception du timbre en tant que matière sonore. En ce qui concerne l’interaction entre le timbre et les autres paramètres sonores, une analyse du discours et des thèmes émergents a dévoilé l’importance du registre, de l’intensité et de la durée dans la définition du timbre. La mise en place d’un second questionnaire a permis de mieux définir encore les caractéristiques du vocabulaire descripteur du timbre de la guitare classique. En l’occurrence, la distribution des catégories lexicales a démontré que les adjectifs renvoient à une description souvent métaphorique du timbre alors que les substantifs rendent essentiellement compte de la technique instrumentale. Pour définir les nuances de timbre, les guitaristes classiques ont communément recours aux paramètres sonores, aux modes de production ainsi qu’à d’autres descripteurs de timbre. Notre analyse a par ailleurs mené à la construction d’un dictionnaire terminologique de huit nuances de timbre (métallique, rond, brillant, mince, sec, velouté, sombre et sourd). Finalement, l’élaboration d’un espace sémantique du timbre à partir de l’évaluation de la proximité sémantique de ces huit descripteurs de timbre révèle deux axes principaux, le premier est défini par la présence de l’attaque et le point de pincement, alors que le second se rapporte à la résonance, à la projection ainsi qu’aux jugements de valeur. La troisième et dernière étude porte sur les stratégies de communication employées dans le cadre de deux classes de maître. Les résultats de notre analyse mettent en évidence l’exploitation de trois modalités principales visant à expliciter la production sonore ainsi qu’à caractériser le rendement musical. Les professeurs analysés ont ainsi recours à l’explication verbale, à la démonstration instrumentale ainsi qu’à la vocalisation, voire à l’imitation. En définitive, notre recherche a permis d’illustrer que la conceptualisation des nuances de timbre se rapporte à la matière, aux paramètres sonores, à la description métaphorique, ainsi qu’aux modes de production. Une conceptualisation aussi inclusive permettrait d’accéder à toutes les subtilités de la production et de la perception sonore. En ce qui a trait à la communication, les nuances de timbre s’explicitent à travers la verbalisation, l’exécution ainsi que la vocalisation ou encore l’imitation. / This thesis is about the lexicon of timbre descriptors, its definitions, and teaching strategies regarding sound production of the classical guitar. Our methodology is based on mixed methods research, in that it combines both qualitative and quantitative data, while our methods are derived from different disciplines. This research is grounded in musicology of performance and focuses more specifically on the conceptualization of classical guitar timbral nuances by classical guitar players. The design of this research is based on three separate studies. The first study focuses on the analysis of adjectives used to describe timbral nuances and their definitions from classical guitarists. The results demonstrate that the construction of the lexicon of timbre descriptors relates primarily to matter, thus reinforcing the concept of timbre as sound matter. Regarding the interaction between timbre and other sound parameters, a discourse and emergent themes analysis has revealed the importance of register, intensity and duration in the definition of timbre. The implementation of a second questionnaire helped to define further the characteristics of the timbre descriptor vocabulary of the classical guitar. The distribution of lexical categories showed that adjectives often refer to a metaphorical timbre description while nouns essentially give an account of the instrumental technique. To define timbral nuances, classical guitarists commonly use sound parameters, production modes and other descriptors of timbre. Following those results, a terminological dictionary of 8 timbral nuances (metallic, round, bright, thin, dry, velvety, dark and dull) was also proposed. Finally, the development of a semantic space of timbre from the evaluation of semantic proximity between those 8 timbre descriptors reveals two main axis, the first is defined by the presence of the attack and the plucking position, while the second refers to the resonance, the projection and the value judgment. The third and final study examines the communication strategies used in the context of two master classes. The results of our analysis highlight the use of three main ways to explain the sound production and to characterize the musical performance. The participating professors have recourse to verbal explanation, instrumental demonstration as well as vocalization or imitation. Our research has demonstrated that the conceptualization of timbre nuances refers to matter, sound parameters, metaphorical descriptions, as well as production modes. Such an inclusive conceptualization allows access to all the subtleties of the production and perception of classical guitar. In regards to communication, timbral nuances are expressed by verbalization, performance as well as vocalization or imitation.

Daar bestaan nie duidelike riglyne waarvolgens Afrikaanse leesreekse wat in die grondslagfase gebruik word, geëvalueer kan word nie. Hierdie studie was verkennend van aard met die doel om kriteria te identifiseer wat aangewend kan word om Afrikaanse leesreekse in die grondslagfase te evalueer. Ek het ʼn interpretivistiese metateoretiese paradigma gevolg aangesien ek diepgaande kennis wou verkry oor die onderwerp. Daarvoor het ek gebruik gemaak van ʼn gevallestudie gerig deur Chall (1990) se model van leesontwikkeling. Daarby het ek uit die literatuur ʼn rubriek ontwikkel wat ek aangewend het om die drie leesreekse wat in die studie ondersoek is, se teoretiese onderbou te bepaal. Die literatuur het my ondersteun om vrae te onwikkel wat ek tydens drie fokusgroeponderhoude gevra het. Die fokusgroeponderhoude het by drie Afrikaanse laerskole binne die Tshwane-metropool in verskillende sosio-ekonomiese gebiede plaasgevind. Twaalf onderwysers het deelgeneem (n=12; vroue=12). Die deelnemende onderwysers is doelgerig geselekteer. Om my data te versterk, het ek ook gebruik gemaak van observasienotas verkry van 57 studente in die Vroeë Kinderontwikkeling en Grondslagfaseprogram, aan die Universiteit van Pretoria. Ek het die data gedokumenteer as oudio-opnames, verbatimtranskripsies en veldnotas. Verder het ek tematiese analise gebruik om die verbatimtranskripsies te analiseer, waarvolgens temas en subtemas geïdentifiseer is. Die volgende vier temas is geïdentifiseer: (i) relevansie van leesreekse, (ii) belangrike aspekte by die gebruik van leesreekse, (iii) onderwysers se gebruik van leesreekse tydens leesonderrig, (iv) wetenskaplike ontwikkeling van leesreekse vir grondslagfaseleesonderrig. Ek het inhoudsanalise gebruik om die leesreekse en observasienotas te analiseer. Bevindinge uit die studie dui daarop dat van die deelnemende skole verouderde leesreekse gebruik waarvan die inhoud nie relevant is vir die hedendaagse leerder se leefwêreld nie. Dit blyk ook dat onderwysers moontlik ʼn gebrekkige kennis van leesteorieë het. Verder het ek bevind dat onderwysers hul eie stories skryf om persepsie en fonologiese bewustheid te integreer, aangesien leesreekse nie dié leesvaardighede aanspreek nie. Ek het ook bevind dat onderwysers sekere aspekte belangrik ag by leesreekse, naamlik (i) leesreekse moet binne die leerder se leefwêreld wees, (ii) illustrasies moet die leerder uitnooi om te lees, (iii) progressie moet voorkom, (iv) herhaling van sigwoorde is belangrik, (v) uitgewers moet die volgorde van die aanleer van klanke in gedagte hou tydens die skryf van leesreekse, (vi) uitgewers moet die skriftipe, woordkeuses en korrekte spelling in ag neem, (vii) die behavioristiese benadering word algemeen aangewend tydens leesonderrig en (viii) slegs een leesreeks (leesreeks C) het voldoen aan meeste van die kriteria. <ul> “To learn to read is to light a fire; every syllable that is spelled out is a spark” Victor Hugo</ul> ENGLISH : No definite guidelines exist which can be used to evaluate Afrikaans graded readers in the foundation phase. The main goal of this study was to identify criteria which can be implemented within the foundation phase to evaluate graded readers. I made use of an interpretative metatheoretical paradigm, since I anticipated gaining in-depth knowledge regarding the subject by means of this method. Chall’s Model of Reading Development (1990) was used as a basis for this case study. I developed a rubric, which was used to identify the theoretical aspects related to the three graded readers used in the study. The literature furthermore supported me in the formation of questions which were posed to the focus groups. The focus group meetings took place at three Afrikaans primary schools within the Tshwane Metropole in different socio-economic areas. Twelve teachers participated (n=12; women=12). The participating teachers were selected using stratified sampling. In order to enhance the validity of the data, I made use of observation notes, obtained from 57 students in the Early Childhood Development and Foundation Phase programme at the University of Pretoria. The data was documented as audio-recordings, transcriptions and field notes. Thematic analysis was employed to analyse the transcriptions, whereafter themes and sub-themes were identified. The following four themes were identified: (i) The relevance of graded readers; (ii) important aspects related to the use of graded readers; (iii) the use of graded readers by teachers during reading instruction; and (iv) scientific development of graded readers for use during foundation phase reading instruction. The graded readers and observation notes were analysed by means of content analysis. The findings indicated that participating schools used graded readers of which the content is not relevant for the learner of today. It would also seem that teachers possibly lack knowledge of reading theories. In addition, teachers are writing their own stories in order to integrate perception and phonological awareness, since graded readers do not incorporate it. The findings further illuminated the fact that teachers value certain aspects in graded readers as important, namely: (i) Graded readers must fall within the context of the child’s world; (ii) illustrations must invite the learner to read, (iii) there must be progression, (iv) repetition of sight words are vital, (v) when publishers write graded readers, the range pertaining to how sounds are learned must be borne in mind, (vi) publishers must pay attention to the font type, word selection and spelling in readers, (viii) the behaviouristic approach is frequently used during reading instruction, and (viii) only one graded reader (graded reader C) met most of the set criteria. <ul>“To learn to read is to light a fire; every syllable that is spelled out is a spark” Victor Hugo</ul> / Dissertation (MEd)--University of Pretoria, 2012. / Educational Psychology / unrestricted

The present diploma thesis focuses on the unconscious code-switching between second and third language. The main objective of this thesis is to deal with principles of unconscious code-switching, describe and categorize actual appearances of unconscious code-switching between second and third language. After introducing issues, the second chapter sums up the way of second and third language acquisition in terms of bilingualism and multilingualism. The third chapter presents a definition and theoretic bases of code-switching. The fourth chapter concerns the analysis of the reason for code- switching in terms of usage-based and psycholinguistic approaches. The fifth chapter presents a categorization of code-switching from syntactic and pragmatic perspectives. The sixth chapter concerns the analysis of cases of code-switching from recorded interviews and the explanation of possible factors causing unconscious code-switching. Key words: Unconscious code-switching, bilingualism, multilingualism, usage-based approach, psycholinguistic approach, function words, acquisition, second language, third language, WIPP