Dissertations / Theses: 'Instrumentalists'

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Meidell, Katrin Liza. "Epidemiological Evaluation of Pain Among String Instrumentalists." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68015/.

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Pain and performance anxiety (PA) are common problems among string players. Therefore, the purpose of this study was to assess and compare PA and prevalence rates and locations of pain in violinists, violists, cellists, and bassists. Subjects completed a questionnaire that included sections on demographics, musical background, practice habits, musculoskeletal problems, non-musculoskeletal problems, and PA. Anthropometric data were gathered on all 115 subjects. Results show that there are differences in both pain and PA across instrument groups. Violinists reported the highest number of pain sites, followed by violists, bassists, and cellists. The left shoulder was the most-often reported pain site, followed by the neck and right shoulder. Aching was the most cited term selected to describe pain. Several anthropometric indices were significantly correlated with pain, notably right thumb to index finger span in both cellists and bassists. In all instrument groups, at least one pain site was significantly correlated with one of four PA questions. Results warrant the development of intervention strategies and further study of the relationship between pain and performance anxiety.

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Hungerford, Delores Ann. "The use of a flexible fiber optic scope to view the oral cavities of experienced and less experienced clarinetists /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/11293.

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Braun, Elizabeth Longo. "Music Description and Expressive Performance by Middle School Instrumentalists." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354596370.

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Reddington, Helen. "Unprecedented access? : women instrumentalists in punk bands 1976-1984 : an exploration." Thesis, University of Westminster, 2004. https://westminsterresearch.westminster.ac.uk/item/93411/unprecedented-access-women-instrumentalists-in-punk-bands-1976-1984-an-exploration.

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This study has been undertaken because of a gap in popular music and subcultural history. The significance of the first large influx of women into rock music, as punk instrumentalists in the late 1970s, has been underplayed; instead, women punks have been stereotypically documented. Girls' and womens' roles as producers of music, and their consequent contribution to the sound of punk music, have been subjected to a collective amnesia. Four areas of literature have been reviewed to clarify the reasons for, and extent of the gap: writings on subcultures and scenes, writings on women in rock and pop, writings on the socio-political context, and writings on punk. One of the main foci of the study has been to identify the reasons for the fading away of the presence of women instrumentalists in the early 1980s. I wanted to discover why this phenomenon had such a short time span. The primary research involved a newspaper survey (300 local papers were contacted across Britain) from which 24 useful questionnaires were gleaned; I interviewed 15 women who were in bands at the time, as well as a radio DJ, record company owner, band manager, and several male band members and political activists from the scene. Fanzines, music papers and the feminist magazine Spare Rib have also been referred to extensively. I have also had my own recollections of the time to draw upon. Following the literature review, the study is divided into sections on Access (enabling and empowering factors), Media Gatekeepers and Cultural Intermediaries (external controls and filters), The Brighton Scene (a case study of my own local punk envirom-nent), Noise, Violence and Femininity (the practice of music making by these women, and the resistance to it), the Aftermath (exploring factors contributing to the ending of the moment), and Conclusions.

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Ballard, Dennis L. "Relationships between college level wind instrumentalists' achievement in intonation perception and performance /." Electronic version (link to abstract and document) ProQuest document ID:1500055051 Publication Number: AAT 3298145 Electronic version (link to document), 2006. http://proquest.umi.com/pqdlink?did=1500055051&sid=1&Fmt=2&clientId=12010&RQT=309&VName=PQD.

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Cecconi-Roberts, Lecia Anne. "Effects of practice strategies on improvement of performance of intermediate woodwind instrumentalists /." free to MU campus, to others for purchase, 2001. http://wwwlib.umi.com/cr/mo/fullcit?p3012957.

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Callahan, Gary L. "The measurement of finger dexterity in woodwind and brass instrumentalists : a developmental study /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1340907240.

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Scalise, David. "THE EFFECTS OF LEARNING PRACTICES ON MOTIVATION AND ENGAGEMENT AMONG HIGH SCHOOL INSTRUMENTALISTS." Case Western Reserve University School of Graduate Studies / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=case1433543547.

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Griffiths, Noola K. "The role of concert dress in the performances of solo female classical instrumentalists." Thesis, University of Sheffield, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500284.

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This thesis examines the role of concert dress of solo female instrumentalists performing within the Western classical tradition. Previous studies of the effect of visual information in performance have largely focussed on the role of expressive body movement, or have treated concert dress as a confounding variable in the study of other visual factors. The effect of specific styles of dress in performance has not been previously researched. However, some have argued that there is a dominant beauty culture within classical performance, which may have a negative effect on perceptions of female performers' musical abilities. An analysis of promotional images of performers and images of soloists playing, suggests that this dominance of beauty culture exists only in explicitly promotional images of performers. Findings suggest that style of concert dress and expressive body movement style have a significant effect on observer perceptions of performance quality. The results suggest that practical, social and psychological factors influence performers' choice of concert dress and audience perceptions of performance due to dress.

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Tomlison, Scott. "The effects of recorded models on the performance achievement of beginning brass instrumentalists /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9964004.

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Laing, Daniel Robert. "The effect of rhythmic pattern instruction on the sight-reading achievement of wind instrumentalists." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4876.

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Thesis (Ph. D.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on November 29, 2007) Vita. Includes bibliographical references.

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Pierson, Michael Eldon. "Effects of mental and physical practice on 6th grade beginning band instrumentalists' performance accuracy." Thesis, This resource online, 1992. http://scholar.lib.vt.edu/theses/available/etd-09122009-040243/.

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McCabe, Melissa Christine Fredrickson William E. "The effect of movement-based instruction on the beginning instrumentalists ability to sight-read rhythm patterns." Diss., UMK access, 2004.

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Thesis (M.M. Ed.)--Conservatory of Music. University of Missouri--Kansas City, 2004.
"A thesis in music education." Typescript. Advisor: William E. Fredrickson. Vita. Title from "catalog record" of the print edition Description based on contents viewed Feb. 27, 2006. Includes bibliographical references (leaves 66-74). Online version of the print edition.

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Compton, Gary. "The influence of performance background on instrumentalists' ability to discriminate and label cornet and trumpet timbre." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001605.

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Miller, Gregory Michael. "The Effects of Differing Rhythmic Instruction on Middle School Instrumentalists' Rhythmic and Melodic Sight-Reading Performance." The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1393067943.

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Kim, Sangbum. "EFFECTS OF VERBAL-ONLY AND PAIRED VERBAL-GESTURAL INSTRUCTION ON PERFORMANCE SKILL OF DEVELOPING WIND INSTRUMENTALISTS." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/374815.

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Music Education
Ph.D.
The purpose of this study was to investigate the effects of verbal-only and paired verbal-gestural instruction on the performance skills of wind instrumentalists with no more than three years of performance experience. Reviewed are different conducting strategies and their effects on musical expression in ensemble performance as demonstrated by small ensembles. Two sets of participants were used in this study. Audio stimulus files were derived from performances generated by the first set of participants, student musicians, who were randomly assigned to one of the two instruction groups. The primary sample consisted of students (n=30) from one intact public junior high school band. The second set of participants consisted of university undergraduate and graduate music majors (n=40) who evaluated the audio stimulus files. The first set of participants, middle school student musicians, who were randomly assigned to one of ten performance trios; trios were randomly assigned to one of two teaching conditions: (1) verbal-only, or (2) paired verbal-gestural. Students in each trio were assigned to perform Part 1, 2, or 3 of a two-minute performance selection that had been arranged purposefully to take into account participants’ performance level. Student participants performed this selection during a rehearsal in their assigned teaching condition. The student-investigator was the conductor/teacher in each condition. Rehearsals, consisting of sight-reading the work, investigator-led rehearsal, and final performance, were audio recorded for subsequent evaluation. Evaluators, undergraduate and graduate instrumental music majors (n=40) from a large research institution in the northeast United States, listened to the recordings and evaluated each rehearsal using a Continuous Response Digital Interface (CRDI) using the following criteria: musicality (phrasing, dynamics, balance, and expression) and technical accuracy (rhythm, articulation, intonation, and tempo). A paired-samples t-test was used to compare pretest (performance before rehearsal) and posttest (performance after rehearsal) outcomes. Aggregate data were analyzed using analysis of variance (ANOVA) comparing performance ratings among the three variables (rehearsal style, music mode, and grade). All Pairs Tukey-Kramer was used to show differences among groups and performances. Analyses indicated that this sample of middle school instrumentalists was significantly successful at their performance of two different variations (musicality and technical accuracy) after a rehearsal (posttest) in both verbal-only and verbal-gestural conditions than their first performance before a rehearsal (pretest). Pretest and posttest scores of the verbal-gestural group were higher than that of the verbal-only group, but rehearsal in the verbal-only condition showed more significant effectiveness in their development than under verbal-gestural conditions. Instrumentalists’ technical accuracy was rated as higher compared to musicality ratings in both pre- and posttests. Eighth grade players received higher scores on pre- and posttest in both verbal-only and verbal-gestural conditions than that of seventh grade players which might be expected since these players had more experience. Both verbal-only and verbal-gestural instruction conditions have similar effectiveness on student performance ratings, and based on the evidence derived from this study, it seems that both verbal and nonverbal instructional methods should be considered equally effective music teaching tools in an instrumental setting for students at this level of development. These findings should be taken into account when instrumental music educators are planning and delivering instruction, particularly in light of data showing that verbal instruction is more frequently used during rehearsals than nonverbal instruction.
Temple University--Theses

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Mieder, Kimberly N. "The Effects of a Self-Regulated Learning Music Practice Strategy Curriculum on Music Performance, Self-Regulation, Self-Efficacy, and Cognition." Scholar Commons, 2018. https://scholarcommons.usf.edu/etd/7339.

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The purpose of this study was to evaluate the effects of a Self-Regulated Learning Music Practice Strategies Curriculum (SRL-MPSC) on Self-Efficacy in music practice, Self-Regulation in music practice, Music Performance Achievement, Processing Speed, and Meta-Cognitive Awareness for high school instrumentalists. The goal of the fifteen-day music training using the SRL-MPSC, was to teach adolescents how to practice more effectively, think meta-cognitively and develop musical independence while enhancing self-efficacy, performance achievement, processing speed and meta-cognitive awareness. Results of this study suggest that a 15-day music training intervention using the Self-Regulated Learning Music Practice Strategies Curriculum, significantly enhanced participant’s Music Performance Achievement, F, (1,33) = 11.28, p =.002, d = 1.98, self-perceptions of Self-Regulation in music practice, F (1,33) = 16.91, p = .001, d = 1.98. and Self-Efficacy in Music Practice F (1,33) = 13.81, p =.001, d = 2.10. Based upon the results of this study, teaching students to practice effectively using strategies, cooperative group activities along side daily rhythmic audiation, sight reading and scale study, will develop independent musicianship, increase confidence and musical competence, broaden the literature level and increase student motivation to practice.

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Ajidahun, Adedayo Tunde. "Guidelines in designing a warm up program for the prevention of playing related musculoskeletal disorder among instrumentalists." Thesis, University of the Western Cape, 2011. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_5962_1363774643.

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Playing related musculoskeletal disorder (PRMD) is common among instrumentalists, professionals, amateurs and music students with a prevalence ranging from 39-47% with an impact on playing and performance. This is synonymous to the prevalence of musculoskeletal disorders among other work population. Risk factors such as lack of warm ups, awkward posture, long playing hours and bad techniques has been consistently indicated as risk factors influencing the incidence of PRMDs among instrumentalists. The aim of this study is to design a warm up programme for instrumentalists. The study population and sample are instrumentalists at the Centre for Performing Arts, University of the Western Cape. A cross sectional study design with a quantitative approach was utilized in this study to determine the prevalence, severity, distribution of PRMDs and its association with quality of life. All the instrumentalists learning or playing a musical instrument of the Centre for Performing Arts was approached to participate in this study. In the first phase of the study, a self administered questionnaire was used to collect data regarding prevalence, distribution and the severity of PRMDs and health related quality of life. The instruments for this study are the standard NORDIC questionnaire for musculoskeletal disorders to determine pain distribution and prevalence, the visual analogue scale to determine the pain severity and the WHOQOL &ndash
BREF, a quality of life questionnaire and an adapted questionnaire to determine the knowledge of instrumentalists about injury prevention strategies. The second phase of the study, a systematic review of evidence was done on the pattern of warm up and practice habits of instrumentalists. The third phase of the study to design the content of the study was done using a Delphi study. The Statistical Package for Social Sciences (SPSS) was used for descriptive and inferential statistics. Chi square was used to determine the association of prevalence, distribution and severity on quality of life. Alpha level was set at 0.05. Ethical clearance and permission to conduct study was sought, written informed consents from participants was sought clearly stating the right to participate and withdraw from study was respected and anonymity and confidentiality was be ensured. The results of the study show that 82.4 % lifetime prevalence and current prevalence of 23.5 % among instrumental musicians in a Centre for Performing Arts. The shoulder (41.2 %), neck (29.4 %) and the wrists and hands (29.4%) are the mostly affected region on the body. The most common symptoms are tightness and soreness. However, the results of the systematic review shows that there is a lack of operational term for warm up in the performing arts and this therefore could be responsible for the variations in the influence of warm up on the prevention of PRMDs. The content of the warm up programme was designed using a Delphi study and stretching and postural awareness were included with musical warm up as part of a regular warm up exercise, although, consensus was not reached on the duration of the warm up programme. Strengthening and conditioning were included to in a different exercise program done three times per week. Education on injury prevention strategies were also included in the programme and the mode of instruction agreed on was active learning and group instruction in classroom. The role of warm up exercise in the prevention of PRMDs using this model could reduce the incidence of PRMDs. However, it is important to note that the programme should be tested in order to determine the overall effect it has on PRMDs.

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Pursell, Anthony F. "The effectiveness of iconic-based rhythmic instruction on middle school instrumentalists' ability to read rhythms at sight." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1325987.

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The purpose of this study was to investigate the effectiveness of iconic-based rhythmic instruction on middle school instrumentalists' ability to read rhythms at sight in the preparation of music for sight-reading. One hundred thirty-one middle school students from 12 randomly assigned bands in the Midwestern United States provided data for a pretest-posttest control-group design. Of the 12 participating middle schools, four schools served as the control group (n= 42), four schools delivered rhythmic instruction using iconic-based methods (n= 42), and four schools delivered isolated rhythmic training using symbolic-based methods (n= 47).Using adjusted pretest scores from a researcher-constructed rhythm test (Rhythm Sight-Reading Performance Ability), the Musical Aptitude Profile (1995), and the Wechsler Abbreviated Scale of Intelligence (1999), results of an analysis of covariance (ANCOVA) revealed that no group obtained a significant difference on the posttest mean scores from the rhythmic performance test (F= 1.940, df= 1, 107, p= .149). Because results from individual schools showed considerable variation, other variables were observed to see if they were significant. Findings from an ANCOVA revealed that the individual school was significant (F= 3.141, df= 9, 107, p= .002).To verify the relationship found between the individual school and the posttest measurement, an analysis of covariance (ANCOVA) was run with the pretest and posttest scores serving as repeated measures. The results indicate that a significant interaction between the individual school and the pretest to posttest measurement exists. In light of these findings, it is speculated that the key to improving a student's rhythm-reading ability may be dependent not only on the method, but also on the quality of instructional delivery.
School of Music

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Caesar, Michael, and n/a. "The processes used by high school music instrumentalists when improvising music and the factors which influence those processes." University of Canberra. Education, 1999. http://erl.canberra.edu.au./public/adt-AUC20050214.143037.

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The purpose of this study was to build upon the growing body of knowledge relating to music improvisation by investigating the processes used by high school music instrumentalists when improvising music and the factors that influence those processes. Many factors contribute to music improvisation skill and they must all be taken into account when investigating the music improvisation processes of high school music students. The theoretical framework of this study was based on the complex interactions that take place simultaneously between three identified ensembles of factors. The three ensembles of factors were: I . The student profile which included general information and detailed aspects of prior music experience. 2. Enabling skills which included audiation ability, the ability to play music by ear and kinaesthetic abilities. 3. Improvisation processes including, creative processes, cognitive strategies and group or solo contexts for music improvisation. Taking into account the exploratory nature of this study, the single embedded case study design, involving 12 high school music instrumentalists aged between 13 and 15 years, offered the necessary potential to cope with the wide variety of evidence. The formal survey was used to gather information that would establish a detailed profile of each student. The Test of Ability to Audiate and Ability to Play by Ear (TAAAPE) was used to measure students' ability to audiate and play music by ear. Similarly, in order to explore the relationships between improvisation processes, enabling skills and the profile of each student, the Improvisation Ability Test (IAT) was used. This test provided authentic music improvisation experiences in both group and solo contexts. Both tests were scored by two independent judges and the researcher. Finally, the focused interview was used to establish the cognitive strategies used by the students when undertaking the various music improvisation tasks. The ability of the case study design to handle both qualitative and quantitative data proved to be useful in this study. Two major findings emerged from the analysis of the data: 1. The first was that the processes used by this small group of students when engaged in music improvisation were unpredictable. 2. The second major finding relates to evidence that supports the theory of an interaction between the three ensembles of factors as presented in the theoretical framework of this study. However, contrary to what might have been expected, the study further indicated that the interaction of these factors, in the context of the music improvisation processes used by these individual students, did not follow or produce any specific patterns. It was not within the scope of this study to seek the emergence of a model for teaching music improvisation to high school music instrumentalists. However, it has opened the path for further research which could result in the development of such a model.

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Heim, David Bruce. "Practical tuning, temperament, and conditioning, for hornists and other instrumentalists understanding and attaining intonational flexibility in musical performance /." Access abstract and link to full text, 1990. http://0-wwwlib.umi.com.library.utulsa.edu/dissertations/fullcit/1341845.

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Hewitt, Michael Peter. "The effects of self-evaluation, self-listening, and modeling on junior high instrumentalists' music performance and practice attitude." Diss., The University of Arizona, 2000. http://hdl.handle.net/10150/289182.

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The purpose of this study was to examine the effects that self-evaluation, self-listening, and modeling have on junior high school instrumentalists' music performance and practice attitude. Eighty-two seventh, eighth, and ninth-grade students were randomly assigned to one of eight groups in the 2 x 2 x 2 pretest/posttest factorial design. Participants prepared three brief musical excerpts during 15-minute in-school weekly practice sessions and at home. Three adjudicators independently evaluated both pretest and posttest performances using the Woodwind Brass Solo Evaluation Form. Practice attitude was assessed by having students complete the Practice Attitude Questionnaire after each practice session. A general linear model repeated measures analysis with multiple dependent variables was performed to determine relationships among the variables. Results indicated that students who listened to a model recording improved their performance more so than students who did not listen to a model in the areas of tone, technique/articulation, rhythmic accuracy, tempo, interpretation, and overall performance, but not in the areas of intonation or melodic accuracy. A significant interaction between modeling, self-evaluation, and test was also discovered. Students in the Model/Self-Evaluation treatment group improved their performances more than the No Model/Self-Evaluation group in the areas of tone, melodic accuracy, rhythmic accuracy, interpretation, and overall performance. Also, there were no differences in scores between the Model/No Self-Evaluation and No Model/No Self-Evaluation for any performance subarea. In regard to practice attitude, no statistically significant interactions or main effects were found in the data. This indicates that mean practice attitude scores remained constant throughout the duration of the study for all of the groups and also that the treatment groups did not differ from each other in terms of their attitude about the procedure at any time during the treatment period. Furthermore, each group exhibited a favorable attitude toward their particular practice strategy.

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Dunnigan, Patrick. "Effects of tempo, bass loudness, and tonic chord degree on the perception and performance of intonation by wind instrumentalists /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Sidoti, Vincent James. "The effects of expressive and nonexpressive conducting on the performance accuracy of selected expression markings by individual high school instrumentalists /." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487683401443805.

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Garbisch, Amelia Ellen. "PEDAGOGICAL PRACTICE IN THE TEACHING OF MUSICIANSHIP TO INSTRUMENTALISTS AND VOCALISTS IN HIGH SCHOOL MUSIC EDUCATION SETTINGS: A COMPARATIVE ANALYSIS." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/262001.

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Music Education
Ph.D.
The purpose of this study is to compare the ways high school instrumental teachers and high school vocal teachers teach musicianship skills. The study also compares secondary music teachers' perceptions of the effectiveness of their teaching of musicianship skills with college students' perceptions of how effectively they were taught these skills. I examined how instructional time, teaching methodology, and availability of small-group and private lessons factor into (1) teacher perception of student understanding of musicianship, and; (2) college students' perception of remembered musicianship education experienced while in high school. I distributed a survey designed to examine the pedagogy of specific musicianship skills. This survey was sent to 75 vocal teachers and 75 instrumental teachers who teach ensemble music classes (band, orchestra, and choir) in urban and suburban areas in Pennsylvania. A similar measure designed to examine college students' remembered perception of the effectiveness of their high school musicianship education was sent to 150 vocal college music majors and 150 instrumental college music majors in Pennsylvania and Delaware. The survey was designed for students and instructors to rate musicianship training using a five point Likert-type scale and a six point Likert-type scale. The skills assessed included: reading notation from treble and bass clefs; sight-reading and sight-singing; recognizing and interpreting music symbols; identifying key signatures and time signatures; working independently on a musical task; and recognizing and performing dynamics, articulations, and common tempo markings. Data were analyzed using a Chi-square test to determine what, if any, significant results negating the null hypothesis are present.
Temple University--Theses

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Núñez, Mario Leoncio. "Comparison of aural and visual instructional methodologies designed to improve the intonation accuracy of seventh grade violin and viola instrumentalists." connect to online resource, 2002. http://www.library.unt.edu/theses/open/20021/nunez%5Fmario/index.htm.

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Núñez, Mario Leoncio. "A Comparison of Aural and Visual Instructional Methodologies Designed to Improve the Intonation Accuracy of Seventh Grade Violin and Viola Instrumentalists." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3122/.

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The purpose of the study was to compare two instructional methodologies designed to improve the intonation accuracy of seventh grade violin and viola instrumentalists. The collection of data was in regard to (1) instructional methodology: aural and aural/visual, (2) performance tasks: A, B, and C; (3) individual pitches (seven from each of the music tasks), and (4) differences between instrument groups: violin and viola. Sixty-eight seventh grade string students from three string classes of two middle schools were randomly assigned to two experimental groups: (a) aural and (b) aural/visual. The instructional period was implemented daily in ten-minute sessions during twenty days by the orchestra instructors of each school. A pretest-posttest format was used to determine if there were any changes in the subjects' intonation accuracy from prior to after the instructional phase was implemented, and if these changes could be attributed to any of the methodologies. The testing material used on both testing sessions included three performance tasks composed of seven notes each. Subjects were recorded on both testing occasions. The data were the scores of absolute pitch deviation, measured in cents from equal temperament, from the pre- and postest; these were treated with analysis of variance. The ANOVA on the posttest scores indicated a non-significant difference between the instructional methodologies in their effectiveness to improve the subjects' ability to play in tune.

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Chester, Erin A. "An examination of the relationship betweeen [i.e. between] teaching method and middle school instrumentalalists' [i.e. instrumentalists'] performance of three expressive skills." College Park, Md. : University of Maryland, 2008. http://hdl.handle.net/1903/8213.

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Thesis (M.A.)--University of Maryland, College Park, 2008.
Thesis research directed by: School of Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Hill, Dennis R. (Dennis Roy). "An Investigation of the Career Realities and Occupational Concerns of Selected Professional Performing Musicians." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc330770/.

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The purpose was to investigate the career realities and occupational concerns of successful full-time performing instrumentalists. Four research problems were formulated; (1) the establishment of a demographic profile of musicians who perceived themselves successful; (2) the determination of the musicians' career realities; (3) the determination of the musicians' occupational concerns; and (4) a comparison of the relationship of the demographic profile to the career realities and occupational concerns. A pilot study was used to develop a questionnaire and an interview schedule. The sample for the main study was chosen by the questionnaire and consisted of twenty musicians, five each in the musical categories of jazz, classical, commercial and pop. To resolve research problem one, the questionnaire also collected general demographic data. Research problems two and three were fulfilled by an interview schedule based upon career realities and occupational concerns cited in previous sociological studies. The realities and concerns were either confirmed or refuted by each interviewee. The career realities were role conflict, career contingencies, musical labels, life style, hierarchies, audience relationships and environment. The occupational concerns were mobility, status, entrapment, personal contacts, dependency, security, competition, economic issues, working conditions, travel requirements, appearance, management control, auditions, maintenance of skills and training relevancy. The interviews were taped and transcribed by a court reporter and included in the text. An analysis of the interviews in relation to the demographic data fulfilled research problem four. Results showed that career contingencies, mobility and life style were positive influences for the sampled musicians. Also, a "hierarchy of expertise" appeared as the ultimate occupational hierarchy for the sampled musicians. Furthermore, a "hierarchy of dependency," based upon instrument played, affected the sampled musicians' attitudes toward their careers. It was concluded that performers who were devoting their full time to performance were more tolerant of imperfect career conditions than had been cited in previous studies .

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McAllister, Jacqueline A. "Performance Anxiety Amongst Middle School-Aged Wind Instrumentalists as Influenced by Variations in Delivery of Instructional Script Given by Adjudicators During Sight Reading." FIU Digital Commons, 2011. http://digitalcommons.fiu.edu/etd/402.

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The primary purpose of this research paper was to study performance anxiety among middle school students during a sight-reading audition. Furthermore, this sutdy asks whether the manner in which directions are presented by the sight-reading adjudicator during the course of an audition has significant impact on the performance outcome. Participants (n=75) were middle school students attending a highly rated band program in the Miami-Dade County (Miami, FL) area. By use of investigator-derived surveys, levels of trait and state anxiety were determined before and after the sight-reading performance. Means and standard deviations were calculated for perceived anxiety and for the resulting scores of the performance. A t-testcompared the control and experimental groups perceived level of anxiety, where statistically significant results were found at the pp

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Chess, Susan Lorrainne. "Keyboard improvisation characteristics of freshman and sophomore instrumental and vocal music majors." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1123721766.

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Thesis (Ph. D.)--Ohio State University, 2005.
Title from first page of PDF file. Document formatted into pages; contains xiii, 141 p.; also includes graphics (some col.). Includes bibliographical references (p. 127-134). Available online via OhioLINK's ETD Center

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Gossi, Inez dos Santos. "Experiência artístico-estética como experiência educativa: a necessidade de superar antagonismos." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-15092009-132216/.

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Experiência artístico-estética como experiência educativa: a necessidade de superar antagonismos é uma pesquisa fundamentada no instrumentalismo deweiano. A tese defende a importância da dimensão arquitetônica para a educação aprofundando com Dewey a necessidade da superação de antagonismos, dentre eles o existente entre arte e vida. Como movimento filosófico, o instrumentalismo não concebe a razão como algo completo por si mesmo, independente da matéria, indiferente às influências dos hábitos, dos instintos e das emoções como fatores ativos da vida, ou seja, independente da experiência. O conceito de experiência é central na filosofia deweiana e sua influência na concepção contemporânea de currículo pode ser constatada no reconhecimento da importância da inter-relação entre sujeito e ambiente no processo educativo; mas a arquitetura como um elemento do ambiente educativo, segundo Antonio Viñao Frago, dificilmente é estudada em sua dimensão antropológica. Frago aponta razões para essa dificuldade que possivelmente dizem respeito à necessidade de superação de antagonismos, assim como as razões para o distanciamento da discussão arquitetônica da sociedade. No entanto, é possível constatar em intervenções arquitetônicas no âmbito da educação, dentre elas o restauro e requalificação da Faculdade de Medicina da Universidade de São Paulo, que esses antagonismos podem ser superados como o existente entre cultura e eficiência social.
Esthetic-artistic experience as educational experience: the necessity of an antagonism surmount defends an architectural dimension to education and proposes with Dewey the necessity of getting over antagonisms. Its instrumentalism doesnt accept the independence of reason and subject, without influence from habits, instincts, emotions as active life factors, that independent from experience. The concept of experience is central in Deweys philosophy and its influence in contemporary curriculum conception can be recognize when supports the importance of the connection between individual and environment in educational process; but the architectural element of educational environment has hardly been studied in its anthropological dimension according to Antonio Viñao Frago. Frago indicates some reasons to that problem, it distances involves the necessity to get over antagonism mainly the antagonism between architectural discussion and society. However, it is possible to see among architectural interventions in formal education, as the restoration and requalification of Medicine College of São Paulo University for example, how the antagonism social efficiency and culture can be surmounted.

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Kouri, Teresa. "Logical Instrumentalism." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1472751856.

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DiCola, Paul S. "Socrates, Irwin, and Instrumentalism." Ohio University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1212521001.

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35

Němcová, Marta. "Příprava instrumentalisty z psycho-fyziologického hlediska." Doctoral thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2012. http://www.nusl.cz/ntk/nusl-177820.

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The dissertation thesis deals with the occupation-related health problems of musicians and with the prevention and solution of these problems. The first part of the thesis is the introduction to the field of Physiology of Music and Performing Arts Medicine and introduction to the occupation-related health problems of the musicians (the most common sorts and causes of the problems). The thesis contains results of the statistic research concerning the occupation-related health problems of students of Keyboard Instruments Department of HAMU from the year 2011. The main part of the thesis is the treatise on the basis hygiene of practising a music instrument and on the body at the instrument. The thesis contains also the report about trial courses and consultations concerning prevention and solution of the occupation-related health problems if musicians for students of HAMU, realized within the dissertation project in the years 2009 ? 2012.

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Carlsson, Emma. "SÅNGERSKAN SOM INSTRUMENTALIST : REPETITION SOM FÖRÄNDRING." Thesis, Högskolan i Skövde, Institutionen för kommunikation och information, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-5222.

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37

Laurenti, Carolina. "Hume, Mach e Skinner: a explicação do comportamento." Universidade Federal de São Carlos, 2004. https://repositorio.ufscar.br/handle/ufscar/4817.

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Made available in DSpace on 2016-06-02T20:13:05Z (GMT). No. of bitstreams: 1 DissCL.pdf: 1141798 bytes, checksum: 937f7ca204b0a90bbde9494a89d09b45 (MD5) Previous issue date: 2004-03-17
Financiadora de Estudos e Projetos
Radical behaviorism was presented as the philosophy of science of human behavior. This has important consequences. One of them has to do with questions regarding scientific explanation. The present essay essentially deals with the following question: what is the model of explanation of radical behaviorism? Some characteristics of the explanation model of behavior are examined, based on a discussion of the ideas of Skinner and two others philosophers of science, to wit, David Hume and Ernst Mach. Hume offers a logical-empirical critique of the concept of causality as necessary connection, by arguing that causal relations can not be demonstrated on the basis of statements of fact. Moreover, experience does not furnish the necessary causal link between cause and effect. He concludes the human knowledge deals solely with constant relations. This critique was taken over by Skinner by way of Mach s functional descriptivism . Mach s substitution of the concept of cause by that of functional relations, and its consequent distinction between scientific explanation and causal explanation is based on Hume s critique. One might also argue that Mach advances on Hume s critique by asserting that the world is, in principle, probabilistic. Skinner, from the beginning, offered an interpretation of behavioral theory as description in accordance with Mach s philosophy of science. Accordingly, he limited himself to explaining behavior in terms of functional relationships. However, it is argued that the explanation of behavior is not only the discovery of functional relations. Skinner does not comply with the restrictions of descriptivism when he offers an interpretation, beyond the bounds of mere functional relations, of the origin of behavior, as is the case with philogenetic behavior and with cultural practices. Accordingly, interpretation is included in radical behaviorism s explanatory system. In this way, the theory of behavior, without rejecting descriptivism, may be associated with a version of scientific instrumentalism. This is done via Mach in a somewhat surprising way. Mach s emphasis on the notions of scientific concept and hypothesis leads us to a kind of reticent instrumentalism which emerges as a reaction to the realist view of theories. As a version of scientific instrumentalism, the theory of behaviorism can be seen as pragmatic, and so radical behaviorism enters the field of ethics. The alliance of descriptivism and instrumentalism rule out realist interpretations of the theory of behavior. A reading of Skinner s theory from the perspective of the philosophical works of Hume and Mach also weaken the association of radical behaviorism with the metaphysical determinism. It is concluded that the model of selection by consequences is a functional, instrumental and probabilistic, rather than causal, way of explaining behavior.
O behaviorismo radical se apresenta como a filosofia da ciência do comportamento humano. Essa asserção tem decorrências importantes. Uma delas esbarra, imediatamente, em questões concernentes à explicação científica. O presente trabalho trata essencialmente desta questão: qual o modelo de explicação do comportamento defendido pelo behaviorismo radical? Todavia, seu escopo é limitado. Foram examinadas algumas características do modelo explicativo comportamental através de um debate travado entre Skinner e outros dois filósofos da ciência, a saber: David Hume e Ernst Mach. Hume faz uma crítica lógicaempírica do conceito de causalidade como conexão necessária, afirmando que as relações causais, com respeito ao campo das questões de fato, não são passíveis de demonstração. Somado a isso, a experiência não fornece os elos causais que conectam inelutavelmente a causa ao efeito. Ao final, podemos tratar do conhecimento humano, apenas, em termos de relações constantes. Essa crítica foi legada a Skinner através de suas relações com o descritivismo funcional machiano. Mach incorporou a crítica de Hume ao substituir a noção de causa pela de relações funcionais, operando uma desvinculação entre explicação científica e explicação causal. É possível também argumentar que Mach avança a crítica de Hume afirmando que o mundo é, em princípio, probabilístico. Skinner, desde o início de sua obra, anunciou sua interpretação da teoria do comportamento como descrição nos moldes machianos. Com isso, confinou-se a explicar o comportamento em termos de relações funcionais. Entretanto, é possível identificar que a explicação do comportamento não se resume à descoberta de relações funcionais. Skinner rompe os limites do descritivismo interpretando a origem de comportamentos que ultrapassam descrições meramente funcionais, como é o caso do comportamento filogenético e das práticas culturais. O behaviorismo radical inclui no seu sistema explicativo a interpretação. Nesse sentido, a teoria do comportamento, sem renegar o descritivismo, conjuga-se como uma versão do instrumentalismo científico. A novidade está que o faz via relações com Mach. A ênfase dada por Mach com respeito às noções de conceito e hipótese científicas, nos leva a encontrar uma espécie de instrumentalismo reticente que emerge como uma reação à interpretação realista das teorias. Como uma versão do instrumentalismo científico, a teoria do comportamento também se afirma como um pragmatismo, que acaba inserindo o behaviorismo radical no campo da ética. A conjugação das versões descritivistas e instrumentalistas impede interpretações realistas da teoria do comportamento. Ademais, uma leitura da teoria de Skinner através dos textos filosóficos de Hume e Mach afasta o behaviorismo radical de laços com o determinismo metafísico. Conclui-se que o modelo de seleção por conseqüências se apresenta não como um modo causal, mas como um modo funcional, instrumental e probabilista de explicação do comportamento.

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38

Sinnadurai, Anne Patricia Gabrielle. "Lazy instrumentalism and finitist geometry." Thesis, Imperial College London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314381.

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Mårtensson, Staffan. "Primus inter pares : instrumentalisten som dirigent." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2104.

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I föreliggande arbete söker jag sammanfatta den process som fört mig från rollen som utövande instrumentalmusiker till rollen som dirigent. Min metod är den personliga reflektionen med referenser till egna erfarenheter och till några framstående föregångare på dirigentpulten. Jag snuddar vid sociologen Pierre Bourdieus tankar och fokuserar sedan på tre specifika fallstudier. Dessa utgörs av mina reflektioner kring en konsert med Gävle Symfoniorkester då jag var både dirigent och solist, ett samarbetsprojekt mellan KMH och Operahögskolan då jag var dirigent för en operaproduktion samt slutligen mina konkreta förberedelser inför min examenskonsert med Norrköpings Symfoniorkester, då jag dirigerar verk av Brahms och Bartók. Här utgår jag från partituret till ett av verken och redovisar de observationer som ligger till grund för min musikaliska tolkning och för repetitionsarbetet. Jag inleder och avslutar med reflektioner, då jag applicerar mina erfarenheter av och tankar, både personliga och allmänna, om ämnet – instrumentalisten som dirigent.

1. Presentationen var en examenskonsert. Medverkande och program:

Norrköpings Symfoni-orkester, dirigent Staffan Mårtensson:

J Brahms: Haydn-variationer op 56a

B Bartók: Konsert för orkester

2. Med det skriftliga examensarbetet följer två filmfiler, vilka finns tillgängliga för nedladdning:

-DVD av konsertframförande 2016-01-14 med Gävle Symfoniorkester, dirigent Staffan Mårtensson:

J Strauss d y: Ouvertyr till Läderlappen

-DVD av konsertframförande 2016-05-19 med Norrköpings Symfoni-orkester, dirigent Staffan Mårtensson:

J Brahms: Haydn-variationer op 56a

B Bartók: Konsert för orkester

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40

Steglich-Petersen, Asbjørn. "Doxastic normativity : a defence of the instrumentalist account." Thesis, University of Cambridge, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.613355.

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41

Ween, David Anders. "Epistocracy’s Competence Problem: An Instrumentalist Defense of Democracy." Ohio University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1627993424084938.

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42

Burini, Bruno Corrêa. "Processo administrativo de apuração de conduta anticoncorrencial: perspectiva instrumentalista." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/2/2137/tde-15032013-084457/.

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A presente tese propôs-se a examinar a possibilidade de se transportar a teoria instrumentalista ao processo administrativo de apuração de condutas perante o Sistema Brasileiro de Defesa da Concorrência. Foram cotejadas premissas estruturais e de técnicas processuais, de modo a examinar se o processo administrativo de apuração de condutas anticoncorrenciais é hábil para a consecução do escopo magno de pacificação com justiça, valendo-se ainda de técnicas processuais adequadas para o alcance daqueles escopos sociais, políticos e jurídicos estabelecidos como premissa de raciocínio. O trabalho faz uma análise da história do pensamento antitruste estrangeiro e no Brasil para a definição do escopo do direito antitruste no Brasil, expõe o conceito de função administrativa judicante (quase jurisidicional) exercida pelo CADE, concebida a partir da ausência de rigidez da concepção tripartite das funções-poderes-atividades do Estado. Debate-se a natureza do órgão, sua concepção no desenho institucional do Estado e a influência da política e da discricionariedade administrativa sobre a sua atividade. No âmbito dos axiomas processuais, são analisados ao longo do texto os preceitos democráticos, o conceito de processo e sua definição em um modelo processual constitucional. A Teoria Geral do Processo também fornece relevante disciplina metodológica aplicável a todo e qualquer processo, dentre eles, o administrativo-concorrencial, cuja natureza também é examinada. Propôs-se então a análise crítica do processo administrativo concorrencial por meio de seus escopos e respectivas técnicas de atuação, a partir da estrutura fornecida pelo pensamento instrumentalista do processo de Dinamarco. O escopo social é examinado à luz das técnicas relacionadas com a imunização, a idoneidade estrutural, a imparcialidade (sob a ótica do princípio da demanda, do princípio dispositivo, do exame da nomeação, mandato e quarentena dos julgadores) e a finalidade educativa. Os escopos políticos são cotejados com as concepções de poder e liberdade (constitucionalização e devido processo legal), participação democrática (como acesso à ordem jurídica justa de representantes, terceiros interessados), direito à informação e publicidade de atos. Por fim, o escopo jurídico do processo é examinado sob a ótica da atuação prática da vontade jurídica preexistente mediante técnicas incidentes sobre os temas do conflito entre correntes unitárias e dualistas do direito, da busca da verdade possível e sua relação com o ideal de pacificação trazido com a solução definitiva e célere de controvérsias por técnicas de imutabilidade e de aceleração de julgamentos, da segurança jurídica outorgada pelas formas, do direito à prova e os meios inerentes ao seu exercício, do duplo grau e da uniformização de decisões. Conclui-se pela identificação de pontos sensíveis em que o processo administrativo não atinge satisfatoriamente os escopos do processo, mas que o sistema caminha em direção da legitimação de sua atividade.
The present thesis proposes to examine the hypothesis of carrying the instrumentalist theory to the antitrust proceedings before the Brazilian Competition Policy System (SBDC). Structural and procedural technique assumptions were collated in order to examine whether the antitrust proceedings is able to achieve the grand purpose of pacification with justice, availing itself of appropriate procedural techniques to reach those social, political and legal scopes established as premise of reasoning thinking. Throughout the present thesis, the history of the foreign and Brazilian antitrust thought is analyzed to define the scope of the antitrust law in Brazil, and it exams the concept of administrative adjudicate function (almost jurisdictional) exerted by the Brazilian Council for Economic Defense (CADE), conceived from the absence of formality of the tripartite conception of the function-power-activities of the State. The agency nature, its conception in the institutional design of the State and the influence of the politics and the administrative discretionarity on its activity is discussed. In the scope of the procedural axioms, the democratic principles, the concept of process and its definition in a constitutional procedural model are analyzed throughout the text. The General Theory of the Process also supplies relevant methodological disciplines applicable to all and any procedure, amongst them, the administrative-antitrust procedure, whose nature is also examined. Moreover, a critical analysis of the process by means of its scope and by its respective techniques of performance is proposed, from the structure provided by the instrumentalist thought of the process by Professor Candido Rangel Dinamarco. The social scope is examined in the light of the techniques related with the immunization, the structural suitability, the impartiality (considering the principle of the action, the dispositive principle, the examination of the appointment, term and quarantine of the Commissioners) and the educational purpose. The political scopes are discussed taking into account the conceptions of power and freedom (constitutionality and due process of law), democratic participation (as access of interested parties and third parties to the legal system), right to information and publicity of acts. Finally, the legal scope of the process is examined from the perspective of the practical performance of the preexisting law by means of techniques incident on the subjects of the conflict between Unitarian and Dualist doctrines, the pursue of the possible truth and its relation with the ideal of pacification brought with the definitive and fast solution of controversies by techniques of immutability and acceleration of judgments, of legal certainty afforded by the forms, of the right of production of evidence and those inherent instruments, of the right of appeal to a hierarchically superior body and the predictability of decisions. In conclusion, sensitive points are identified where the administrative procedures do not satisfactorily achieve the scope of process, but where the system moves toward the legitimization of its activity.

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43

Miller, Marian M. "Adult development : traits of instrumentality and expressiveness." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/514538.

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The purpose of this research was to examine significant change, if any, in instrumental and expressive traits during adulthood. The research was designed to test the assumption that chronological age and psychosocial stage are related to instrumentality and expressiveness.The present study utilized the Personal Attributes Questionnaire (PAQ) and a personal information questionnaire. The research question was: Are there differences in traits of instrumentality and expressiveness at different stages of adult development?Three hundred sixty-three men and women between the ages of 20 and 70 participated in the study. The sample included 164 men and 197 warren. Participants were members of volunteer organizations. They were assigned to different groups based on age and psychosocial development.Four 3 x 3 Analyses of Variance procedures were performed. There were three levels of age: (1) 20-35, (2) 36-50, and (3) 51-70. Categorization of psychosocial stage included: (1) no children, (2) children from birth to graduation from high school, and (3) all children graduated from high school. Sex was not combined, rather separate analysis was performed on each sex. The dependent variables were expressiveness and instrumentality as defined by scores on the Personal Attributes Questionnaire. The following effects were studied:(1) Effects of age and psychosocial stage on traits of instrumentality in men.(2) Effects of age and psychosocial stage on traits of expressiveness in men.(3) Effects of age and psychosocial stage on traits of instrumentality in women.(4) Effect of age and psychosocial stage on traits of expressiveness in women.The results of the research indicated that traits of instrumentality and expressiveness in men and women do not change significantly during adulthood. No significant differences were found in men or women with regard to age and psychosocial development on traits of instrumentality and expressiveness.

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Rollings, Peter Karl. "Cooperative Instrumentalism: A Naturalistic Explanation of Morality." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18109.

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The object of this thesis is to give a naturalistic explanation for the phenomenon of morality. I find that ‘morality’ refers to a characteristic class of behavioural codes, whose obligations are taken to be inescapable and impartial, and in respect of which we have powerful motivation to conform.In exploring possible explanations, I embrace a hypothesis of subjective moral realism, based on an instrumentalist conception of practical reasoning—an agent only has moral reason to perform an action if that action serves moral ends, and if doing so would satisfy the agent’s pre-existing desires. My specific proposal is that, given the surface desiderata of impartial inescapability, legitimate moral obligations will be Pareto-optimal cooperative solutions to social dilemmas. I call this thesis cooperative instrumentalism. This approach denies the rational inescapability of moral compliance, and instead views morality as socially inescapable. Whilst the thesis accounts well for the impartial inescapability of morality, it generates another set of explanatory problems. These are addressed in the remainder of the dissertation, via a framework of proximate and ultimate explanations. The former proceeds by deducing what linguistic and psychological mechanisms would need to be in place to account for a cooperative morality; and then tests these predictions against empirical data. We find that at this level, cooperative instrumentalism is cogent and empirically well supported. Notably, it requires some agents to have an ultimate desire to act in solidarity with the other members of their social group, but such agents do plausibly exist. My ultimate explanation is an evolutionary account. The difficulty lies in showing why agents acting cooperatively were not outcompeted by agents acting in their restricted self-interest. My solution appeals to a powerful synergism between mechanisms of intrademic and interdemic group selection. This is a ‘how possible’ explanation, with the goal of showing that the outcome we observe could have been achieved through natural processes. This is surely enough—my overall thesis must be taken seriously, on the strength of its ability to positively account for the proximate phenomena.

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45

DePetro, Jonelle Marie. "Practical rationality and the limits of instrumentalism." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290665.

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I show Means/end or "instrumental" models of practical rationality maintain that an agent is rational if she is taking efficient means to secure her most important ends. According to this view, an agent's goals are not themselves open to rational assessment. Only the efficiency of means to chosen ends is evaluated. These accounts raise an important question in contemporary debates about practical rationality: whether a complete theory of practical rationality must include a theory of value (a theory by which ends are evaluated to determine whether they are rational). After placing various means/end accounts in historical perspective and illustrating their contemporary significance, I defend a negative answer to the above question and thus embrace a form of instrumentalism. I show that certain arguments concerning the rationality of final ends are reducible to arguments about other matters pertaining to things being constituents of ends or means to final ends. Moreover, examples of irrational desires designed to show that means/end conceptions are inadequate simply appeal to our intuitions and many will not share those intuitions in all cases. The intuitive appeal of instrumental theories will be bolstered if it is emphasized that they do not permit the pursuit of every fleeting desire, but rather those which the agent herself deems most important. There are no sufficient grounds for a rejection of instrumentalism. Attempts at alternative views either collapse into instrumentalist accounts or they fail to provide the principles needed to establish a satisfactory account of rationality applicable to all agents.

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46

Rak, Ondřej. "Spor o význam teorie racionální volby." Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-150305.

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Many critics of rational choice theory aim at unrealistic psychological assumption of this theory. To what extent is this kind of critic relevant? If we analyze the formalized scheme of choice than we will find difficult to interpret this scheme as psychological theory that develops intentional explanations. We should rather understand this theory as a theory developing causal explanations that are generated by the structure of surrounding. Intencionality in this theory is only a auxiliary tool and the explanation is made in terms of structure, not in terms of mental states. From this perspective most of the critic aim at wrong target.

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47

Logsdon, Leann F. "Re-imagining Arts-centered Inquiry as Pragmatic Instrumentalism." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/eps_diss/74.

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Arts education must continually provide justification for its inclusion in the K-12 curriculum. This dissertation utilizes philosophical and conceptual analysis to probe the tensions, ironies, and contradictions that permeate the arts education advocacy discourse. Using evidence from advocacy materials published online, scholarly critiques of themes in the advocacy discourse, and research reports describing school-based arts programs, I construct an argument that posits generative consequences for student learning when arts-centered inquiry is reimagined as pragmatic instrumentalism. Such a reimagining of arts-centered inquiry seeks to draw a distinction between utilitarian justifications for the arts and instrumental benefits the arts provide individual students in mediating complex and connected learning. In reclaiming the term “instrumental” for arts-centered inquiry, I offer a way to restore the notion of generativity to arts learning and a means to promote greater understanding among practitioners, researchers, policymakers, and advocates.

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48

Coveyduck, Susan. "Vocalization and its effect on the intonation of a beginning instrumentalist." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0004/MQ34934.pdf.

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49

Cormier, Rachel Marguerite. "Managerial women : substance use, stress, support systems and instrumentality." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/28204.

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This study is concerned with variables that might influence substance use by women in non-traditional managerial occupations; a group at risk as a consequence of stressful and isolated work circumstances. The study examined the relationship between substance use and stress (daily hassles), perceived social support and work support, family history of alcohol abuse, friends' drinking behaviour and sex-role style. The Substance Use and Significant Others Scale was developed to measure use of alcohol, prescription drugs, illegal drugs, nicotine, and food, as well as the alcohol-using history of the family of origin and the drinking behaviour of current friends. The validity of this instrument was supported through a pilot study involving 113 male clients and 61 female clients from a drug and alcohol out-patient counselling centre and from the Aurora Treatment Centre, and 59 female managers from non-traditional occupations. A one-way multivariate analysis of variance with the five substances, family history of alcohol use and friends' drinking behaviour as dependent measures indicated a significant multivariate group effect. Post hoc analysis, using Scheffie's tests, comparing managers and female drug and alcohol clients, indicated significant group differences for the measures of alcohol, smoking, prescription drugs, illegal drugs, and family background of alcohol abuse. Comparison of the managers group with male drug and alcohol clients indicated group differences for the five substances, the family history, and for current friends' drinking behaviour. Internal consistency analysis in the pilot study led to the removal of the item on eating in the calculations of substance use. Participants for the study were volunteers involved in a longitudinal study on stress and coping. Eighty women from managerial non-traditionnal occupations in the Greater Vancouver area completed two questionnaire packets containing several instruments. Those of interest to this study were the Hassles Scale, the Social Support Scale, the Work Relationship Index, the Bern Sex Role Inventory and the new Substance Use and Significant Others Scale. Data on sex-role style and social support were collected one month prior to data on daily hassles, work support, substance use and significant others. A stepwise multiple regression analysis was conducted with substance use as the criterion variable. The regression equation reached signifance, F(3,76) = 6.84, p<.01, and accounted for 21% of the variance in substance use. Family history of alcohol abuse, hassles, and friends' drinking behaviour were positively related to substance use. Implications for further research and for counselling are discussed. The findings contribute to the knowledge about the relationship between daily stress, social and work support, family and friends' drinking behaviour, sex-role style, and substance use in managerial women.
Education, Faculty of
Educational and Counselling Psychology, and Special Education (ECPS), Department of
Graduate

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50

Lefebvre, Monique. "Instrumentality, expressivity, and dyadic adjustment: Gender-specific mediation processes." Thesis, University of Ottawa (Canada), 1997. http://hdl.handle.net/10393/4381.

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Although Instrumentality and Expressivity scores have been shown to be powerful intrapersonal predictors of reported relationship satisfaction and adjustment, conceptual models exploring the mechanisms by which Instrumentality (I) and Expressivity (E) influence intimate relationships are few. The results presented in this thesis are derived from two studies, each using survey research methods and the little-used Bem Sex Role Inventory Short-Form (BSRI-SF). Study 1 (N = 75 couples) examined several statistical and methodological issues in using the short form BSRI in couples research. Study 2 (N = 119 couples) provided a preliminary evaluation of a model in which it was proposed that the relations among Instrumentality (I), Expressivity (E), and relationship adjustment are mediated in part by interpersonal processes related to couple conflict resolution (CR) and maintenance and enhancement of intimacy (MEI). A number of gender-specific findings were obtained. The proposed model was supported using a path analytic approach comparing the direct model of IE with the mediator model. Specifically, variance in men's reported levels of dyadic adjustment covaried with their own levels of Instrumentality, Expressivity, and self-reported intimacy and conflict behaviour. Variance in women's reported levels of dyadic adjustment covaried in a complex fashion with their own and their partners' scores. Across couple-related variables (DAS, CR, and MEI), results generally supported a main effects model (i.e., significant statistical prediction from Instrumentality scores and/or Expressivity scores), but not an interactional model (Instrumentality times Expressivity). Results indicated that use of the BSRI-SF's nonconfounded Instrumentality and Expressivity subscales can be valuable in model testing in couples research. It is suggested that the short-form provides ease of interpretation compared to the controversial long-form BSRI. Gilligan's theory of gender-specific developmental tasks is proposed as a framework for understanding the gender-specific correlational patterns which emerged.

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Dissertations / Theses on the topic 'Instrumentalists'

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