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Tesi sul tema "Choreography"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 25 luglio 2025

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1

Fishwick, Emma. "Choreography as landscape: Landscape discourse framing choreographic practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2466.

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At the centre of this research is the notion of landscape and how thinking and talking about landscape impacts choreography. The result of the research is a new work, Dance, Quiet Riot, and an exegesis discussing the process of making it as well an exploration of various art forms, field experiences and the area of cultural geography. I use the development and presentation of Dance, Quiet Riot as a case study or creative artefact, if you will, for how landscape discourse can support and intersect with choreographic practice. This exegetical discussion understands landscape as a relational conv

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2

Gorbet, Marsha. "Contemporary choreography at work : a new method of recording the choreographic process." Thesis, Middlesex University, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.568527.

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3

Walter, Kathinka Julia. "Social dimensions of choreography : exploring choreography as a multidirectional process." Thesis, University of Leeds, 2017. http://etheses.whiterose.ac.uk/17461/.

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The research contributes to the possibilities of challenging and expanding what a choreographer might be when he/she plays an interactive role in the performance event, investigating the artistic and social potentials of structured improvisation in relation to instant composition. It shifts the control between choreographer and dancers, addressing the traditional hierarchy within aspects of conditions of authority (Martin, 1985) and trust and power (Foucault, 1995). The choreographer is confronted with losing and gaining control, which can provoke vulnerability not usually visible in the perfo

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4

Barker, Adam. "Flexible service choreography." Thesis, University of Edinburgh, 2007. http://hdl.handle.net/1842/8980.

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Service-oriented architectures are a popular architectural paradigm for building software applications from a number of loosely coupled, distributed services. Through a set of procedural rules, workflow technologies define how groups of services coordinate with one another to achieve a shared task. A problem with workflow specifications is that often the patterns of interaction between the distributed services are too complicated to predict and analyse at design-time. In certain cases, the exact patterns of message exchange and the concrete services to call cannot be predicted in advance, due

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5

Pfitzner, Kerstin. "Choreography configuration for BPMN." [S.l. : s.n.], 2007. http://nbn-resolving.de/urn:nbn:de:bsz:93-opus-33758.

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6

Bays, Blakely Skylar. "A NEWFOUND PASSION-CHOREOGRAPHY." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/honors/290.

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A Newfound Passion- Choreography analyzes the artistic process and life journey of creating choreography for musical theatre. My training as a dance minor at East Tennessee State University from 2011-2015 culminated in my final senior capstone experience as a choreographer for the ETSU Division of Theatre and Dance’s production of Oklahoma!. Composing a new musical theatre dance and analyzing the original choreography of Oklahoma! (and the art of choreography more generally) provided significant material for analysis, and the following research reflects what I learned and experienced. Overall

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7

Hourigan, Paul William. "Choreographic strategies to achieve visual communication within an original film narrative through academic ballet choreography." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/135200/4/Paul%20William%20Hourigan%20Thesis.pdf.

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This research explored the use of ballet in cinema narrative – specifically its efficacy as a source of visual communication once removed from the stereotypical characterizations, plotlines and cinematic tropes that have become associated with cinematic ballet. To test this efficacy, the project involved the production and choreography of an original featurette film, Nearly Not Me, followed by an audience survey for the collection of qualitative data. The findings identify eight choreographic strategies for the successful use of academic ballet choreography as a means of visual communication i

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8

Whitelaw, Melanie. "Choreographic strategies for secondary school dance teachers." Thesis, Queensland University of Technology, 2002.

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Abstract (sommario):

The NSW Dance Syllabus requires students to perform dance, learn how to compose dance and study dance works. These areas are taught under the three compulsory components of Performance, Composition and Appreciation. Dance teachers within NSW must choreograph for their students as a part of the requirements of the syllabus. This study focuses on that aspect of teaching Dance in NSW by investigating the choreographic processes of three professional choreographers working within the educational contexts of New South Wales and Queensland. Through the case study strategy, the researcher will fin

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9

Che, Da. "Toward Humanoid Choreography and Dance." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1337187519.

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10

Giese, Wolfgang. "The choreography of yeast mating." Doctoral thesis, Humboldt-Universität zu Berlin, Lebenswissenschaftliche Fakultät, 2016. http://dx.doi.org/10.18452/17657.

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Die Forschung an der Hefe Saccharomyces cerevisiae – auch als Bäckerhefe bekannt – hat sich für die biologische Grundlagenforschung als unentbehrlich erwiesen und führte zu wichtigen Erkenntnissen in der Erforschung von Krankheiten wie Krebs. Am Beispiel der Paarung von Hefezellen werden in dieser Arbeit wesentliche Aspekte der eukaryotischen Zellbiologie untersucht. In der Haplophase des Lebenszyklus der Hefe, treten haploide Zellen als Paarungstyp MATa oder MATα auf. Diese Paarungstypen kommunizieren über Pheromone, die in ein extrazelluläres Medium abgesondert werden und von Zelloberfläche

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11

Larsson, Alexander. "Creation and choreography of robotic bird." Thesis, Mälardalen University, Department of Computer Science and Engineering, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-7561.

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<p>In this thesis a dancing swan robot is made utilizing already existing components. Webuilt the neck from stacking servo-actuators on top of each-other. The legs are a beamconstruction with 1 degree of freedom. The wings have 4 degrees of freedom, of which 3 inthe shoulder joint. From the shoulder joint a beam protrudes outwards to an actuator in theelbow joint which in turn has a beam attached representing the outer wing. Communicationsare handled by USB transceivers making a regular personal computer capable of directlyinterfacing with the actuators. In order to choreograph the motion

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12

Taušan, N. (Nebojša). "Choreography modeling in embedded systems domain." Doctoral thesis, Oulun yliopisto, 2016. http://urn.fi/urn:isbn:9789526214573.

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Abstract Choreography modelling, as a service-oriented architecture specific technique, is increasingly present in embedded systems development domain. This technique specifies a flow of interactions between participants' services from the global or neutral point of view while the specified models represent an integral part of the overall software architecture. Choreography modelling languages that are currently used in embedded systems domain, however, are not expressive enough to capture the choreography-relevant information in this domain. For this reason, choreography specifications are of

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13

ARKENSON, CAROLIN, and ANNAMARIA STIPIC. "Twitter and Choreography- A Sucessful Combination?" Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-136750.

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One of the most common social media platforms of today is Twitter, an open community where content easily could be spread by sharing so called tweets and where the relationship between users is not constrained by accepting the other user. This report discusses the complexity in merging social media and dance by studying a project which used crowdsourcing through Twitter to collect choreographic ideas for a new ballet piece. In order to examine Twitter as a tool in a creative process, a questionnaire was sent to Twitter users and email interviews were held with those responsible for the project

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14

Kabatra, Leigh Ann. "Problems in choreography| A sociable solution." Thesis, Mills College, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1589464.

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<p> Some contemporary choreographers alienate audiences by presenting grossly oversimplified work or creating work so esoteric that audience members feel lost. I argue that audience members are highly capable of abstraction and analysis, and that by creating dance works with layers of information and complexity, choreographers can engage audiences in a sociable exchange of sharing and consumption. Similarly, audience members can enhance their own participation in this exchange by practicing strategies that will help them be more attentive to choreography. By defining concert dance as a convers

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15

Tucker, April Nunes. "Activating intersubjectivities in contemporary dance choreography." Thesis, Middlesex University, 2009. http://eprints.mdx.ac.uk/8042/.

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This doctoral project examines Maurice Merleau-Ponty's account of phenomenological intersubjectivity and addresses a gap between his account of intersubjectivity and intersubjectivities present in the contemporary dance event. This gap concerns a specific type of performative practice which highlights the tension between person and persona. In order to focus on this area of the gap, the methodologies of choreological studies, phenomenological intersubjectivity and original choreographic practice have been employed. There are current choreographers such as Jonathan Burrows, Atsushi Takenouchi a

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16

Newman, Rosalind. "Moving spaces : choreography, metaphor and meaning." Thesis, University of Kent, 2010. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.523625.

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17

Lau, Tin-ming, and 劉天明. "Modern dance choreography in 1990s Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29511471.

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18

Kane, Angela. "Paul Taylor's choreography : in the public domain." Thesis, University of Kent, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324768.

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19

Perazzo, Domm Daniela. "Dancing poetry : Jonathan Burrows's reconfiguration of choreography." Thesis, University of Surrey, 2007. http://epubs.surrey.ac.uk/609/.

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Abstract (sommario):

The starting point for this interpretive study of Jonathan Burrows's (b 1960) choreography is the limited and fragmentary existing literature on his work. Critical essays and performance reviews hint, tentatively, at the idiosyncratic, eccentric and enigmatic qualities of the movement language of this British contemporary choreographer. In this thesis I interrogate the distinctiveness of his performances, arguing that they challenge conventions of co-existing dance genres and techniques, by employing a variety of disciplinary, cultural and theoretical contexts. These frameworks both surround a

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20

Sabisch, Petra. "Choreographing relations : practical philosophy and contemporary choreography." Thesis, University of Greenwich, 2009. http://gala.gre.ac.uk/5650/.

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Abstract (sommario):

This thesis undertakes the Deleuzian experiment of a conceptual site development of contemporary choreography through analysis of the works of Antonia Baehr, Juan Dominguez, Xavier Le Roy and Eszter Salamon. It examines the way these works transform choreography qualitatively by elaborating singular methods which couple the issue of movement with the creation of aesthetic regimes. As opposed to a representational outline of choreography’s ontology, my thesis investigates the participatory potential of choreography by focussing on the singular relational assemblages that each choreography creat

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21

Wilczak, Kimberly Marie. "“Skogskyrkogården-Studio-Experience:” A Landscape Choreography Process." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1483716050656925.

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22

Palmer, David Scott. "Light, scenography and the choreography of space." Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/11793/.

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This submission for PhD by publication is primarily concerned with the scenographic role of light, especially in relation to; historiography and dramaturgy, embodiment and the use of projected digital light in performance. There is an emphasis on the ability of light to make meaning, its impact on the experience of audiences and its role in the choreography of space. The research encompasses writings on contemporary and historical uses of light in performance and practice-led, collaborative research with digital light that was part funded through the Arts and Humanities Research Council (AHRC)

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23

Orlando, Simone. "Sviluppo di un'applicazione per l'elaborazione di Choreography Automata." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amslaurea.unibo.it/19602/.

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Le Choreographies sono un paradigma emergente per la descrizione top-down di sistemi distribuiti. L'idea chiave è dare al programmatore la possibilità di scrivere una "coreografia" dei partecipanti e di come questi interagiscono tra loro. A partire dalle Choreographies è possibile ottenere il codice di ogni singolo partecipante tramite l'operazione di proiezione. Il vantaggio delle Choreographies è che, sotto alcune condizioni ben definite, garantiscono per costruzione l'assenza dei problemi tipici della programmazione concorrente come i Deadlocks e le Race Conditions. Sono stati proposti dive

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24

Yeung, Hon. "Urban choreography cine-artscape in Ma Tau Kok /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B31987400.

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25

Protopapa, Efrosini. "Possibilising dance : a space for thinking in choreography." Thesis, University of Roehampton, 2009. https://pure.roehampton.ac.uk/portal/en/studentthesis/possibilising-dance(c23658c6-69a6-4d6e-94dd-1d212c4f8ed6).html.

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26

Yeung, Hon, and 楊瀚. "Urban choreography: cine-artscape in Ma Tau Kok." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31987400.

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27

Kallicharan, Rachel. "Edgeless: Seeking a New Choreography of Georgetown's Landscape." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1592904027988774.

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28

Fossum, Louis Eric. "Danny Daniels: A life of dance and choreography." CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2357.

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Abstract (sommario):

The career of Danny Daniels was significant for its contribution to dance choreography for the stage and screen, and his development of concept choreography. Danny's dedication to the art of dance, and the integrity of the artistic process was matched by his support and love for the dancers who performed his choreographic works.

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29

Mathews, Rachel A. "Postmodern Theory and the Choreography of Michael Clark." Thesis, University of Surrey, 1992. https://eprints.qut.edu.au/74785/6/Postmodern%20Theory%20and%20the%20Choreography%20of%20Michael%20Clark_Mathews_1992.pdf.

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This study addresses two interrelated questions: Can postmodern ‘theory’ illuminate an understanding of Michael Clark’s work? and, a sub-question, In which ways, if at all, does Clark’s work demonstrate a postmodern sensibility? Chapter one, the introduction to this study, provides a ‘portrait’ of postmodernism, that is, it addresses the question What is postmodernism? Chapter two is a biography of Michael Clark. The seminal sections to this study, however, are chapters three and four. Here the author blends a discussion of a) subject matter, treatment and meanings in Clark’s choreography

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30

Sponheuer, Silke. "Music made visible in time and space : concepts of simultaneity in tone-eurythmy choreography." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8251.

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Includes bibliographical references (leaves 105-113).<br>Eurythmy is an art of movement that expresses music and speech. This dissertation explores eurythmy's musical field, called tone-eurythmy, in its multifaceted appearances, background and within its philosophical context. Tone-eurythmy, carried out by performers moving in space and time, makes music visible. It transforms music into a new movement-art form, that of audible-visible music, by expressing musical components as well as the artistic intentions within a composition and those held by the performing artists. The dissertation exami

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31

Ölme, Rasmus. "From Model to Module : A move towards generative choreography." Doctoral thesis, KTH, Medieteknik och interaktionsdesign, MID, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-145355.

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The thesis engages in Choreography and Dance Technique by delineating the concepts and practices that the artistic research project MODUL has generated. A modular method of choreographing is articulated. The MODUL method of choreography starts by making a topographical movement analysis of the context that the work engages with. This analysis results in an identification of the different agencies at work within the context approached. They are considered as Choreographic Agents and as elements of the modular assemblage. The choreographic act then performed consists of a re-articulation of the

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32

Kelly, Kathleen. "CAN A METHODOLOGY BE DEVELOPED FOR MUSICAL THEATRE CHOREOGRAPHY?" Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2679.

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Abstract (sommario):

Limited training exists for young, aspiring choreographers who wish to work in the realm of musical theatre. University programs turn you away if your focus is not on concert dance and few good books can be found on library shelves to gain knowledge. Most books that do exist are very outdated and lack the practical knowledge and information necessary to become a successful musical theatre choreographer today. This research will help to determine whether a methodology can be developed for training musical theatre choreographers. The research data collected stems from the creative minds of chore

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33

Elsenaar, J. A. "Facial hacking : the twisted logic of electro-facial choreography." Thesis, Nottingham Trent University, 2010. http://irep.ntu.ac.uk/id/eprint/205/.

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This research addresses the development of a computational facial language that enables systematic exploration of the external controlled human face with the aim to identify fundamental electro-facial choreographic patterns. Rewiring the human face to an external digital control system, has sparked a radical new way of thinking about the human facial display. Radical, as facial movement is now rooted in digital instead of neural computation. The human face has become an extension of a digital control system inheriting its characteristics: i.e. temporal accuracy, consistency of execution and hi

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34

Robertson, Pandora. "SCRIPT ANALYSIS AND CHOREOGRAPHY: A STUDY OF INTERRELATING SKILLS." Case Western Reserve University School of Graduate Studies / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=case1238707399.

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35

Rawlings, Cara E. "The Civil War: A Collaboration in Direction and Choreography." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/751.

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This text is a partial record of the development of the Virginia Commonwealth University production of The Civil War: A Musical that opened on April 7, 2005 for a three-week run ending April 28, 2005. The greater part of the text is devoted to the evaluation of the underlying principles of direction and choreography applied in the creation of an artistically aid financially successful production of this size. Included in the evaluation of The Civil War: A Musical are analyses of the directors' --Patti D'Beck and David Leong --individual creative processes, aesthetics, and working styles. The

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36

Irvine, Rosanna. "Processual constructions : towards a non-representational poetics of choreography." Thesis, Middlesex University, 2015. http://eprints.mdx.ac.uk/18410/.

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The thesis advances the notion of non-representational poetics positioning this as a genealogical extension in the field of conceptual dance. Concerned with “the genesis of the act of thinking in thought itself” (Deleuze, 2004: 176) the thesis focuses on modes of thinking by choreographers and performers in developing and performing the works addressed. Acknowledging Dance4’s as yet under articulated support of challenging and experimental choreographic practices in the UK, a non-representational poetics is elaborated through an analysis of works programmed in Dance4’s Nottdance Festival 1999-

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37

Wortelkamp, Isa. "Namen und Geschichten." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-186736.

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Der französische Choreograph Jérôme Bel setzt in seinem biographischen Zyklus von 2004-2009 das Verhältnis von Werk und Autor, von Choreographie und Choreograph in Szene, vor deren Hintergrund die Geschichten und Namen des Tanzes anders lesbar werden: Die Stücke Bels tragen als Titel die Namen der Tänzer, die in ihnen auftreten. Die Geschichte der Namensgebung in der Arbeit Bels ist auch eine Geschichte, in der sein Name als Choreograph und Autor verschwindet, wenn er erscheint und erscheint, wenn er verschwindet. Von diesem Grenz-Ort aus wäre jene Geste zu befragen, die Jérome Bel vollzieht,

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38

Milburn, Gayle R. L. "Being between : empathy and presence in the performance of 'open' improvisational dance." Thesis, University of Chichester, 2012. http://eprints.chi.ac.uk/950/.

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39

Preston, Sophia. "Revealing relationships : an analysis of the structural and expressive characteristics of dance and music in Siobhan Davies's Bridge the Distance." Thesis, University of Surrey, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.308414.

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40

Smith, Sue. "Dancing in the dark : described dances and unseen choreographies." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/13358/.

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This thesis enquires how a rethinking of sight as the primary sense for experiencing dance performance can instigate new choreographies that embody the interplay between seen and unseen, described and not described, inside and outside, subject and object. By ‘unseen’ I mean invisible to the eye but potentially available to other senses or imaginative capacities. Choreography is a methodological and critical lens through which to explore relationships between description, translation and sensory perception in a range of performance engagements that invite multi-sensory attention. The research i

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41

Fournier, Janice E. "Composing in dance : thinking with minds and bodies /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/7758.

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42

Bench, Harmony. "Choreographing bodies in dance-media." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1930322891&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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43

Wortelkamp, Isa. "Namen und Geschichten: Lesarten des Tanztheaters im biographischen Zyklus von Jérôme Bel." map - media archive performance ; 2014/5 (E-Journal, URL: http://www.perfomap.de), 2014. https://slub.qucosa.de/id/qucosa%3A6096.

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Abstract (sommario):

Der französische Choreograph Jérôme Bel setzt in seinem biographischen Zyklus von 2004-2009 das Verhältnis von Werk und Autor, von Choreographie und Choreograph in Szene, vor deren Hintergrund die Geschichten und Namen des Tanzes anders lesbar werden: Die Stücke Bels tragen als Titel die Namen der Tänzer, die in ihnen auftreten. Die Geschichte der Namensgebung in der Arbeit Bels ist auch eine Geschichte, in der sein Name als Choreograph und Autor verschwindet, wenn er erscheint und erscheint, wenn er verschwindet. Von diesem Grenz-Ort aus wäre jene Geste zu befragen, die Jérome Bel vollzieht,

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44

Di, Pasquale Vairo. "Verifica di Well-Formedness in un Tool per Choreography Automata." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/21752/.

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In questo elaborato viene presentato un lavoro di estensione e miglioramento di Corinne, un tool per la lettura, composizione e proiezione dei Choreography Automata. Questi sono un modello emergente basato sul concetto di automi a stati finiti impiegato principalmente per la descrizione top-down di coreografie di sistemi distribuiti. In particolare il progetto si concentra nel l’implementazione della verifica di Well-formedness, caratteristica fondamentale di un c-automaton al fine di garantirne una correttezza strutturale, priva dei tipici errori della programmazione concorrente, come De

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Dellecave, Jessica Spring. "The Againness of Vietnam in Contemporary United States Antiwar Choreography." Thesis, University of California, Riverside, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3731833.

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<p> <i>The Againness of Vietnam in Contemporary United States Antiwar Choreography</i> examines eight twentieth- and twenty-first century postmodern antiwar choreographies in order to uncover the reverberations of Vietnam antiwar protests in these dances. The choreographies I examine in this study are Yvonne Rainer’s 1970 <i>M-Walk</i> and 1970 (and 1999) <i>Trio A with Flags</i>, Wendy Rogers’ 1970 <i> Black Maypole</i>, Ann Carlson’s 1990 <i>Flag</i> and 2006 <i>Too Beautiful A Day</i>, Miguel Gutierrez’s 2001, 2008, and 2009 <i>Freedom of Information</i> (<i>FOI</i>)

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46

Mitra, Saayan. "I/O-Automata based formal approach to Web Services Choreography." [Ames, Iowa : Iowa State University], 2009.

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47

Downes, Elizabeth Anne Jaynes 1957. "Psychological Ballet: An analysis of selected choreography by Antony Tudor." Thesis, The University of Arizona, 1989. http://hdl.handle.net/10150/292068.

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Abstract (sommario):

The term "Psychological ballet" has been used in reference to Antony Tudor's ballets dating from John Martin's January 16, 1940, review of "Lilac Garden" in The New York Times. Until this thesis, the psychological ballet as a genre has been overlooked and left undefined. The Psychological Ballet can be defined by: (1) using Antony Tudor's "Pillar of Fire" as a model example and (2) analyzing the term "psychological ballet" into its two components "Psychological," and "Ballet," respectively. The contribution of drama, with attention to character, is explored. Those dance works which do not fall

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48

Postle, Julia. "Dancing through the postmodern : Australian choreography in relation to postmodernism." Thesis, Queensland University of Technology, 1996.

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49

Feck, Candace. "Understandings about dance an analysis of student writings with pedagogical implications /." Connect to this title online, 2002. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1039440221.

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50

Sagolla, Lisa Jo. "Choreography in the American musical, 1960-1969 : the dramatic functions of dance /." Access Digital Full Text version, 1992. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11063798.

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Abstract (sommario):

Thesis (Ed.D.)--Teachers College, Columbia University, 1992.<br>Includes tables. Typescript; issued also on microfilm. Sponsor: Judith Burton. Dissertation Committee: Nancy BrooksSchmitz. Includes bibliographical references (leaves 173-180).

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