Master of Music / Department of Music / Frank C. Tracz / This report contains lesson plans as well as a theoretical and historical analysis of the literature performed in the Graduate Conducting Recital of Veronica Kongs. The recital was held in the Satanta Junior/Senior High School Auditorium in Satanta, Kansas on Tuesday, May 8, 2007 at 7:00 p.m. The recital featured performances by the Junior High and High School Concert Bands. Literature for the Junior High Concert Band included Korean Folk Rhapsody arranged by James Curnow and Riders on the Southern Front by Roland Barrett. The Junior High/High School Concert Band literature consisted of For Thy Courts Above by Ed Huckeby and Of Dark Lords and Ancient Kings by Roland Barrett. This report utilizes two analytical methods, the Larry Blocher/Richard Miles Unit Study model used in the Teaching Music through Performance in Band Books and the Frank Tracz approach of macro-micro score analysis.

Det är av stort intresse för lärare och tränare att öka elevers inre motivation. Det finns flera studier av hur feedback påverkar den inre motivationen inom olika områden men motsvarande studie för ryttare saknas. Ridundervisning innefattar tre individer – tränare, ryttare och häst. Frågan är därför om ryttares inre motivation påverkas av tränarens feedback i samma utsträckning som i andra idrotter. I studien användes en inomgruppsdesign med 35 ryttare och tre betingelser; positiv feedback, negativ feedback samt ingen feedback. Instrumentet Intrinsic motivation inventory (IMI) användes för att mäta inre motivation som en funktion av fyra faktorer: intresse/nöje, upplevd kompetens, press/anspänning samt ansträngning. Resultaten visade att samtliga faktorer förutom ansträngning påverkades av vilken typ av feedback ryttaren fick. Intresse/nöje och upplevd kompetens var högst vid positiv feedback och lägst vid negativ feedback medan press/anspänning, som är negativt relaterat till inre motivation, var lägst vid positiv och högst vid negativ feedback. Av de 35 deltagarna var 19 kända av experimentledaren sedan tidigare. När tidigare känd/tidigare okänd användes som mellangruppsvariabel fanns en huvudeffekt för faktorn press/anspänning. De tidigare okända deltagarna upplevde högre anspänning än de tidigare kända deltagarna under alla betingelser. För faktorn ansträngning fanns en interaktionseffekt. De tidigare okända ansträngde sig mest vid positiv feedback och minst vid negativ feedback medan de tidigare kända deltagarna visade motsatta reaktioner. Störst effekt hade feedbacken på upplevd kompetens vilket kan leda till förbättrade prestationer. Slutsatsen av studien är att positiv feedback gynnar den inre motivationen hos ryttare och kan därmed förbättra deras utveckling och prestationer. / It is of utmost interest for teachers to increase student’s intrinsic motivation. Several previous studies have examined the impact of feedback on intrinsic motivation, but corresponding studies on riders are missing. Three individuals are involved at riding lessons – coach, rider and horse. The question therefore arises if the rider´s intrinsic motivation will be as affected by coaches’ feedback as in other sports. In this study, a within group design was used with 35 participating riders and three conditions: positive, negative or no feedback. The Intrinsic motivation inventory (IMI) was used to measure intrinsic motivation as a function of four factors: interest/joy, perceived competence, pressure/tension and effort. All factors except effort were affected by the type of feedback. Interest/joy and perceived competence were highest at positive and lowest at negative feedback, while pressure/tension that is negatively related with intrinsic motivation was lowest at positive and highest at negative feedback. Of the 35 participants, 19 were previously known by the experimenter. Previously known/unknown were used as a between factor variable. That revealed a main effect on pressure/tension. The previously unknown participants experienced more pressure/tension at all conditions. An interaction was revealed for perceived effort: the previously unknown stated most perceived effort at positive and least at negative feedback while the reactions were the opposite for the previously known. Feedback had greatest effect on perceived competence which may lead to better performance. The conclusion is that positive feedback increases the intrinsic motivation in riders and hence, is beneficial on their development and performance.

lt has been shown that engagement in secondary tasks may contribute to cyclists crash risk [1 ], meditated by cycling errors or risky behaviors. For influences on secondary task: engagement, it is generally found that phone use is negatively correlated with age. In most studies, males are more found engaged in phone tasks than females. lt was also found that users of a bicycle-sharing program more often to wear headphones and engage in more unsafe behavior. The use of safety gear (e.g., wearing a helmet, using reflectors) is often negatively correlated with distracted cycling. Also, cyclists engaged in a secondary task exhibit other risky behaviors more often [2]. The present study's first aim was to get (an updated) estimate of the observable frequency of different secondary tasks, use of additional safety equipment, and rule violations while riding bicycles and e-scooters in Germany. The second aim was to examine possible differences in secondary task: engagement, use of additional safety equipment, and rule violations between different types of users of the cycling infrastructure, i.e., riders of conventional bikes, e-bikes, scooters, and e-scooters. A third aim was to explore whether riders' secondary task engagement is related to active safety precautions (e.g., wearing a helmet), traffic rule violations, and at-fault conflicts and if there are rider profiles regarding safety-related behaviors. As the study is explorative, no hypotheses were formulated. [From: Introduction]

It is now broadly accepted that Vaughan Williams's music betrays a more complex relation to national influences than has traditionally been assumed. It is argued in this thesis that despite the trends towards revisionism that have characterized recent work, Vaughan Williams's interest in and engagement with English folk materials and cultures remains only partially understood. Offering contextual interpretation of materials newly available in the field, my work takes as its point of departure the critical neglect surrounding Vaughan Williams's contradictory compositional debut, in which he denounced the value of folk song in English art music in an article published alongside his song 'Linden Lea', subtitled 'A Dorset Folk Song'. Reconstructing the under-documented years of the composer's early career, it is demonstrated that Vaughan Williams's subsequent 'conversion' and lifelong attachment to folk song emerged as part of a broader concern with the intelligible and participatory quality of song and its performance by the human voice. As such, it is argued that the ways in which this composer theorized an idea of 'song' illuminate a powerful perspective from which to re-consider the propositions of his project for a national music. Locating Vaughan Williams's writings within contemporaneous cultural ideas and practices surrounding 'song', 'voice', and 'Englishness', this work brings such contexts into dialogue with readings of various of the composer's works, composed both before and after the First World War. It is demonstrated in this way that the rehabilitation of Vaughan Williams's music and reputation profitably proceeds by reconstructing a complex dialogue between his writings; between various cultural ideas and practices of English music; between the reception of his works by contemporaneous critics; and crucially, by considering the propositions of his music as explored through analysis. Ultimately, this thesis contends that Vaughan Williams's music often betrays a complex and self-conscious performance of cultural ideas of national identity, negotiating an optimistic or otherwise ambivalent relationship to an English musical tradition that is constructed and referenced through a particular idea of song.