Using a multimodal approach to literacy, this thesis explores student dialogue and responses from viewing wordless and image-rich books to answer the following questions: What impact does visual literacy instruction have on students’ learning and achievement in reading and viewing comprehension? What are grade five students’ perspectives on being involved in reading and viewing wordless and image-rich books in the classroom? Action research methodology is employed by the teacher researcher in a grade five classroom. Qualitative data sourced from whole class observations, small group reading interviews, student work samples, a colleague’s observational notes, and quantitative data from reading assessments reveal insights into the affordances of presenting visually rich texts to students. The author focuses the discussion on reading comprehension strategies, visual elements, and the experience of reading wordless and image-rich books. He concludes that students are able to use deeper level reading comprehension strategies and articulate their understanding while viewing images.

Uppsatsen behandlar den ordlösa grafiska novellen Home av Eric Drooker, en tecknad serienovell på 42 sidor där Drooker använder sig av specifika visuella medel för att kommunicera. Syftet med uppsatsen är att undersöka hur en berättelse kan formuleras med bildspråk där olika symboler hjälper läsaren att förstå innehållet. Med hjälp av en innehållsanalys utifrån en semiotisk metod kartläggs användandet och frekvensen av symboler. Resultatet visar att symbolerna Drooker använder är gester, ordbilder, siffror, skiljetecken, noter, emanata, grafiska och ikoniska symboler, paneler, ramar och sidlayout. Rapporten vänder sig till forskare, studenter och yrkesutövare samt till intresserade av tecknade serier, grafisk design, layout och bildspråk. / The essay investigates the wordless graphic short story Home by Eric Drooker, a comic on 42 pages where Drooker uses specific visual means to communicate. The purpose of the thesis is to investigate how a narrative can be formulated with imagery where different symbols are included. The use and frequency of symbols are documented by a content analysis and a semiotic perspective. The result shows that the symbols Drooker uses are gestures, word pictures, numbers, punctuation marks, notes, emanata, graphic as well as iconic symbols, panels, frames and page layout. The report is aimed at researchers, students and professionals, and at those who are interested in comics, graphic design, layout and visual language.

In this project, I have explored how one can musically shape and compose wordless music within the jazz genre with inspiration from the liturgy of the Church of Sweden. Inspiration was taken from various parts of the Mass, previously set liturgy, as well as my own references to the various parts. Each liturgical part was then assigned a keyword based on the gathered information and personal thoughts associated with each part.   I discuss the role of vocal performance as a wordless form of expression both in the context of the church and for me as a musician. I also discuss the connection between the compositions and the liturgy, and how I have chosen to align the work to the traditional order of the Mass.   In conclusion, I explain how this work has affected me as a musician and a person and how I wish it to be received. / <p><strong>Reperstoar:</strong></p><p>Kyrie Eleison</p><p>Sanctus/Gloria</p><p>Credo</p><p>Pax </p><p>Agnus Dei </p><p>Benedictus </p><p>Samtliga kompositioner skrivna av Ella Cronberg</p><p>Extranummer: Blott en dag - Lina Sandell</p><p><strong>Medverkande musiker:</strong></p><p>Sång - Ella Cronberg</p><p>Gitarr - Jim Base</p><p>Piano - Isak Åberg</p><p>Kontrabas - Olle Lannér Risenfors</p><p>Trummor - Filip Öhman</p>

In this project, I have explored how one can musically shape and compose wordless music within the jazz genre with inspiration from the liturgy of the Church of Sweden. Inspiration was taken from various parts of the Mass, previously set liturgy, as well as my own references to the various parts. Each liturgical part was then assigned a keyword based on the gathered information and personal thoughts associated with each part.   I discuss the role of vocal performance as a wordless form of expression both in the context of the church and for me as a musician. I also discuss the connection between the compositions and the liturgy, and how I have chosen to align the work to the traditional order of the Mass.   In conclusion, I explain how this work has affected me as a musician and a person and how I wish it to be received. / <p><strong>Repertoar</strong></p><p>Kyrie Eleison</p><p>Sanctus/Gloria</p><p>Credo</p><p>Pax</p><p>Agnus dei</p><p>Benedictus</p><p>Samtliga kompositioner skrivna av Ella Cronberg.</p><p>(Extranummer: Blott en dag - Lina Sandell)</p><p><strong>Medverkande</strong></p><p>Ella Cronberg - sång</p><p>Jim Base - gitarr</p><p>Isak Åberg - piano</p><p>Olle Lannér Risenfors - kontrabas</p><p>Filip Öhman - trummor</p>

Inference generation is a process that is key to successful reading (e.g., Bowyer- Crane and Snowling, 2005; Oakhill and Cain, 2012) and that begins to develop early in the reading acquisition process, through listening comprehension (e.g., Kendeou et al., 2009). Despite being able to generate inferences, such as cause and effect, as early as four years old (Lynch and van den Broek, 2007) inference generation is a skill not explicitly taught to many emergent readers. This study looked at wordless picturebooks and how they could be used with linguistic prompting to develop inferential thinking in young readers, building on the work of Grolig et al. (2020). The study involved a a quasi-experimental, 2-between subjects (wordless/worded picturebooks) and 2-within subjects (pre/post-assessment) design examining the impact of a reading intervention on emergent readers' inferential narrative comprehension. One group's intervention utilized wordless picturebooks, while the second group used a worded picturebook. The gains from pre- to post-assessment suggested that wordless picturebooks, alongside the planned prompts, did have an impact on the inferential narrative comprehension of the students (t (35) = 4.99, d = 1.63, p<.001) and that the intervention as a whole positively impacts members of both groups. / Doctor of Philosophy / As teachers, we want the children in our care to become strong readers. A part of this challenging task involves helping our students understand what they read. Wordless picturebooks, in combination with prompts for reading them, may be just the tool to help build comprehension through building inference making skills. This study looked at the impact of a wordless picturebook intervention on the inference generation abilities of young readers and found that wordless picturebooks, along with intentionally planned prompts to support readers, positively impacts a child's ability to make inferences.

This monograph provides an in-depth examination of the background, musical, and performance issues related to Duke Ellington’s wordless melodies, as well as epigrammatic biographies of Ellington and three female vocalists whose voices he employed as instruments: Adelaide Hall, Kay Davis, and Alice Babs. As early as the twenties, Ellington innovatively used the voice as a wordless instrumental color—an idea he extended into both his secular and sacred works. His iconoclastic instrumentalization of the soprano voice in compositions such as “Creole Love Call”, “Minnehaha”, “Transblucency”, “On a Turquoise Cloud”, and “T.G.G.T.” merits consideration by scholars and performers alike; these artistically complex melodies offer valuable insights into Ellington’s organic and collaborative compositional process. Although Ellington’s wordless melodies for the soprano voice have fallen on the periphery of discussions on twentieth-century American music, perhaps out of sheer obscurity, the need for alternative teaching and performance materials gives rise to a host of topics for further study regarding these pieces. Assimilating Ellington’s programmatic and mood pieces for the instrumentalized soprano voice into the canon of chamber repertoire opens a new arena of scholarly and artistic endeavor for the trained singer. Therefore, central to this study are the following considerations: context, pedagogical challenges (range, tessitura, vowels, phrase length, etc.) nature of accompaniment and instrumentation, form, and the nature of Ellington’s vocal writing as it pertains to the wordless obbligato and concert works featuring the wordless voice including, “Minnehaha,” “Transblucency,” “On A Turquoise Cloud,” and “T.G.T.T.” aka “Too Good To Title.” This study evaluates Ellington’s technique of casting the wordless female voice in unique musical contexts via musical analysis, as well as pedagogical and interpretive assessments of selected Ellington pieces,. The resultant amalgam of musical identities, both instrumental and vocal, fostered creative polyphony and epitomized the coined “Ellington Effect.” The following analysis centers on a chronological survey of Ellington’s wordless melodies performed and recorded by Adelaide Hall, Kay Davis, and Alice Babs. The goal of this project is to present a study in historical context and significance, style, device, and pedagogical/performance considerations of those works that employ the flexibility, technique, and aural training of the studied singer with instrumental jazz idioms in a cross-genre context.

This thesis investigates how Greek and English 11-year-old students respond to wordless picturebooks. Through the identification of themes in their responses, the study explores the children's engagement while interpreting these books, and also demonstrates how wordless picturebooks can be addressed to and enjoyed by fluent readers. The central tenets of the thesis are described through a socio-cultural perspective of reader response theories. The approach taken places emphasis on the reader's active engagement, for each reader uses visual decoding skills and culturally-oriented knowledge in an effort to resolve the ambiguities of the pictures in a wordless story. The socio-cultural dimension is highlighted throughout this study since the entire process of reading is considered a socio-cultural event. Case studies were conducted, comprising of two groups of four 11-year-old students in England and two groups of the same size in Greece. The data collected includes the children's videoed group discussions, their drawings and their individual short semi-structured interviews. The sessions were verbatim transcribed and analysed drawing on existing frameworks for the analysis of children's discussions on picturebooks, but also incorporating new categories emerged from the data. Based on empirical evidence, this study refines and extends pre-existing research on reader response theories and wordless picturebooks. The main findings indicate that the children's engagement with wordless picturebooks is a dynamic process shaped by four factors: visual decoding, expectations, emotions, and context. The importance of expectations is particularly highlighted, as the children's narrative and cultural expectations were either reinforced or challenged by their reading of the wordless books. This study has implications for teachers, researchers and publishers. It widens the range of readership of wordless picturebooks and increases the purposes of their use, as it reveals their special nature and complexity. Last, this thesis encourages teachers to support students' technical vocabulary on images, and invites schools to integrate wordless picturebooks into their curriculum for older children.

Made available in DSpace on 2014-06-11T19:26:00Z (GMT). No. of bitstreams: 0 Previous issue date: 2005-07-07Bitstream added on 2014-06-13T20:14:28Z : No. of bitstreams: 1 mathias_tsi_me_prud.pdf: 1676290 bytes, checksum: 8fe844be53447d9810f7c4dfdc65b1ab (MD5) / A pesquisa Livro de imagem: possibilidades de leitura estética teve como objetivo discutir o tema Imagem como via de acesso possível à fruição estética, por meio da análise de dois livros, Cântico dos Cânticos e Cena de Rua, cujas narrativas são constituídas exclusivamente de imagens em seqüência. Para isso, realiza um percurso de reflexão filosófica em torno de termos como alienação, trabalho, arte e fruição, localizando no desdobramento destas instâncias o cerne da fragmentação e da desumanização presentes nas relações humanas contemporâneas. O divórcio entre processos de produção/transformação da natureza ou seja, trabalho - e produto ou obra , responsável pela desumanização crescente nas relações, pode ser superado pela via da arte, que em seu fazer projeta, constrói e aprecia, devolvendo a sensação de inteireza já perdida. Nesse sentido, resgata a conexão entre arte e conhecimento enquanto uma relação especial com o mundo: a de transformação da realidade. Mas somente quando interage com o objeto em suas entranhas é que o leitor consegue fruir esteticamente. No nível da análise dos livros selecionados, a ênfase na leitura dos elementos significantes do discurso visual pretende traduzir essa convicção: a de que, somente mediante simbiose com os constituintes de um código é que efetivamos a leitura estética, fruto da arte. Forjar esse caminho através do Livro de Imagem representou uma opção necessária no caso das obras selecionadas, visto que nelas se encontram potencializadas a sensação de nonsense característica da obra de arte. Assim, na dimensão da leitura imagética, conhecer como funcionam os elementos pictóricos em relação à totalidade de um determinado espaço, e inclusive a forma como se comporta também essa totalidade representam passo fundamental para se chegar à leitura com sentido almejada pelo professor. / The research Wordless Book: possibilities of aesthetic reading discusses the theme Image as a possible access road to the aesthetic fruition, through the analysis of two books, Song of the Songs and Street Scene, whose narratives are constituted exclusively of sequenced images. To accomplish that, it sets a course of philosophical reflection around terms like alienation, work, art, and fruition, locating while unfolding in these instances the very kernel of fragmentation and of the present inhumanization in the contemporary human relationships. The divorce between production processes / transformation of Nature - in other words, work - and product - or work, -, responsible for the growing inhumanization in the relationships, can be overcome by way of Art, which in its doing, projects, builds and appreciates, bringing back the wholeness sensation already lost. In that sense, it rescues the connection between Art and Knowledge while brings about a special relationship with the world: the transformation of Reality. But only when it interacts with the object in its innermost part is that the reader gets to gain esthetically. In the level of the analysis of the selected books, the emphasis in the reading of the visual discourse significant elements intends to translate that conviction: that, only by symbiosis with the representatives of a code is that we execute the aesthetic reading, fruit of Art. To forge that path through the Wordless Book has represented a necessary option in the case of the selected works, because in them one finds potentialy the sensation of nonsense, a characteristic of the work of Art.

No description available.

Sergei Rachmaninoff’s (1873-1943) Vocalise, a song without words, is possibly the most well-known song by the composer, though nowadays it is most often played by instrumentalists. In this thesis I will, with a focus on Rachmaninoff’s Vocalise, explore whether interpretation methods differ in the presence of versus the absence of text, and whether one can develop one’s expression through working on the latter. To do this, I read the book Singing &amp; Imagination by Thomas Hemsley to gain insight into the art of singing as a whole and then applied it to my work, as well as interviewing a total of nine people—both singers and instrumentalists—about their views on the topic to acquire a broader mass of data from which to find common themes. Through this thesis, I discovered that, though the essence of interpretation stays the same even in the absence of text, one must use their imagination to a larger extent—or, perhaps, a better choice of words: in a different way—to compensate for the lack of words that usually give the singer clear guidelines about the meaning of, for example, a certain chord. I also learned to expand my understanding of the possible expressive means of the human voice—not limiting myself to the traditional ideal of a beautiful singing voice—as singing without words forces you to find other alternatives to verbal communication. Through this work, I feel like I have gained a larger toolbox for my artistry and freed myself from the limits I so easily put myself into when trying to do everything “right”. / <p>KONSERTPROGRAM:</p><p><strong>André Previn (1929-2019) </strong></p><p>Vocalise</p><p><em>Eveliina Ainsalo, sång</em></p><p><em>Blanka Hillerud, cello</em></p><p><em>Erlend Løvgren Auestad, piano</em></p><p></p><p><strong>John Corigliano (1938) </strong></p><p><em>Three Irish Folksong Settings:</em></p><p>1. The Salley Gardens (<em>Padraic Colum</em>)</p><p>2. The Foggy Dew (<em>Anonym</em>)</p><p>3. She Moved Through the Fair (<em>William Butler Yeats</em>)</p><p><em>Eveliina Ainsalo, sång</em></p><p><em>Tiitta Moilanen, tvärflöjt</em></p><p><em></em></p><p><strong>Frank Bridge (1879-1941)</strong></p><p>Come to me in my dreams (<em>Matthew Arnold</em>)</p><p>E’en as a lovely flower (<em>Kate Kroeker</em>)</p><p></p><p><strong>Sergej Rachmaninov (1873-1943) </strong></p><p>Vocalise</p><p><em>Eveliina Ainsalo, sång</em></p><p><em>Erlend Løvgren Auestad, piano</em></p><p></p><p><em>Medverkande</em>:</p><p>Eveliina Ainsalo, sång</p><p>Blanka Hillerud, cello</p><p>Tiitta Moilanen, tvärflöjt</p><p>Erlend Løvgren Auestad, piano</p><p></p><p>Ljudfilen innehåller inspelningen av Rachmaninovs Vocalise.</p>