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1
Fazenda, Bruno M. "Perception of room modes in critical listening spaces". Thesis, University of Salford, 2004. http://usir.salford.ac.uk/1828/.
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Room modes are a recognised problem in small critical listening rooms and are known to cause colouration of sound reproduced within them. Investigations on the causes and solutions for this problem have been carried out for some time. Interest in the topic has extended to loudspeaker manufacturers who have mainly concentrated in developing methods for controlling the loudspeaker-room interaction in order to ameliorate low frequency reproduction. Compared to objective work on passive and active control methods, the study of the subjective perception of room resonances has been somewhat neglected. Available publications mostly concern the effects of single resonances, which are perhaps not fully representative of conditions as experienced in real rooms. A study into the subjective perception of room modes is presented. The experimental methodology employs psychoacoustic techniques to study the perception of factors such as modal distribution, and effects of resonances on single tones. Results show that the subjective perception of room modes is strongly affected by temporal issues, and that changes exerted merely on magnitude frequency response are detectable but not likely to remove the effects of resonances for all listeners. Furthermore, it is shown that a reduction of the modal Q-factor, associated with a reduction of decay rates, has a significant effect in decreasing the detection of resonances. Q-factor difference limen were evaluated for three reference decay characteristics corresponding to reference Q-factors of 30, 10 and 1. The limen were 6±2.8, 10±4.1 and 16±5.4 respectively, meaning that detection of changes to modal decay decreases with decreasing decay time. These results may be used to define more perceptually relevant design guidelines for critical listening environments, and indicate target criteria for control techniques used in room correction. The outcomes of this investigation will have repercussions on the design of better rooms for critical listening.
2
Bates, Michael. "Listening to Student Voices| A Critical Study of Homework". Thesis, Loyola Marymount University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3560369.
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In a culture of meritocracy and an increasing emphasis on global competition, student learning has become more fully aligned with a belief in the value and effectiveness of homework. Amidst the incessant drive toward competition and an unrelenting push toward an increasing use of homework as commonplace educational practice, there also exist clarion calls to question, reform, and abolish this practice. From student stress to overarching challenges to the nature of education, there exist unexamined discourses that critically challenge current beliefs in the significance of homework practice in the United States. Through employing discussions of student voice and theoretical lenses of intrinsic motivation, social reproduction, and critical pedagogy, this study examined how homework practices impact high school students, by engaging directly with their perceptions. The purpose of this mixed methods study is to better understand how homework affects high school students, beyond measures of student achievement within the current context of education in the United States. The study was conducted in an all-female, Catholic, college preparatory high school, utilizing student survey and focus groups. Findings of the study are explored and discussed with respect to public policy implications related to the future development, assignment, and role of homework practices in the academic formation of high school students in this setting and beyond.
Keywords: homework, high school, student voice, education, stress, intrinsic motivation, social reproduction theory, critical pedagogy, critical consciousness
3
Conway, Colleen Marie. "Evidence of critical thinking during music listening : case studies of three high school students /". Digitized version, 1992. http://hdl.handle.net/1802/1546.
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Thesis (M.A)--University of Rochester, 1992.Includes abstract. Includes bibliographical references: leaves 80-82. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/1546
4
Haynes, Joanna Elizabeth. "Listening as a critical practice : learning through philosophy with children". Thesis, University of Exeter, 2007. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496012.
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Mycroft, Josh. "The design of audio mixing software displays to support critical listening". Thesis, Queen Mary, University of London, 2018. http://qmro.qmul.ac.uk/xmlui/handle/123456789/44047.
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The mixing desk metaphor found in Digital Audio Workstations (DAW) is built upon a specialised and technical knowledge of signal flow and audio engineering. However, since their inception the DAW has gained a far wider and less technically specialised user-base. Furthermore, the limited screen space of laptop and tablet computers, combined with potentially limitless tracks in current DAWs has resulted in the need for complex interface navigation during mixing which may inhibit a fluid and intuitive approach to mixing. The research outlined in this thesis explores novel designs for Graphical User Interfaces (GUIs) for mixing, which acknowledge the changing role of the user, the limited space of tablet and mobile computers screens and the limitations of human perception during cross modal activities (aural and visual). The author designs and conducts several experiments using non-expert participants drawn from several music technology courses, to assess and quantify the extent to which current DAW designs might influence mixing workflow, aiming our research especially at beginner and non-expert users. The results of our studies suggest that GUIs which load visual working memory, or force the user to mentally integrate visual information across the interface, can reduce the ability to hear subtle simultaneous changes to the audio. We use the analysis of these experiments to propose novel GUI designs that are better suited to human cross-modal perceptual limitations and which take into account the specific challenges and opportunities afforded by screen-based audio mixers. By so doing, we aim to support the user in achieving a more fluid and focused interaction while mixing, where the visual feedback supports and enhances the primary goal of attending to and modifying the audio content of the mix. In turn, it is hoped this will facilitate the artistic and creative approaches required by music computer users.
6
Bassett, Mark Andrew. "The Influence of Training Method on Tone Colour Discrimination". Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/18925.
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This research addresses the question of whether one of two training methods, identification by continuous adjustment (ICA) or identification by successive approximation (ISA), is more effective in training students using a technical ear training program (TETP). No known empirical studies have examined the effectiveness of either training method within frequency spectrum-based student-targeted TETPs. Preliminary work involved the development of appropriate tests of students’ tone colour discrimination ability in isolation, on tasks sufficiently different from those encountered in TETPs. The tests were then deployed in a pilot study within a pre/post-training scenario using two groups of audio engineering students, one of which undertook an ICA and the other an ISA version of a TETP. These preliminary results indicated the suitability of a test that featured pairwise comparisons of synthetic percussive timbres to show differences in performance between the two training groups. This test was subsequently administered repeatedly in a full-scale study at regular intervals throughout a web-based TETP, in addition to before and after training. Results of the full-scale study showed the individual differences scaling (INDSCAL)-derived stimulus spaces for both groups were similar prior to undertaking the TETP. The ISA group’s post-training results were almost identical to their pre-training results, whereas the ICA groups’ post-training results showed minor, but insignificant differences. Although the full-scale study found insignificant differences in performance between training groups, the preliminary results suggest that the deployment of a pre/post-training test is an effective measure of the training method’s influence on students if the test features a task that is significantly different from those trained on in the TETP.
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Bassett, Mark Andrew. "The Influence of Training Method on Tone Colour Discrimination". Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/18013.
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This research addresses the question of whether one of two training methods, identification by continuous adjustment (ICA) or identification by successive approximation (ISA), is more effective in training students using a technical ear training program (TETP). No known empirical studies have examined the effectiveness of either training method within frequency spectrum-based student-targeted TETPs. Preliminary work involved the development of appropriate tests of students’ tone colour discrimination ability in isolation, on tasks sufficiently different from those encountered in TETPs. The tests were then deployed in a pilot study within a pre/post-training scenario using two groups of audio engineering students, one of which undertook an ICA and the other an ISA version of a TETP. These preliminary results indicated the suitability of a test that featured pairwise comparisons of synthetic percussive timbres to show differences in performance between the two training groups. This test was subsequently administered repeatedly in a full-scale study at regular intervals throughout a web-based TETP, in addition to before and after training. Results of the full-scale study showed the individual differences scaling (INDSCAL)-derived stimulus spaces for both groups were similar prior to undertaking the TETP. The ISA group’s post-training results were almost identical to their pre-training results, whereas the ICA groups’ post-training results showed minor, but insignificant differences. Although the full-scale study found insignificant differences in performance between training groups, the preliminary results suggest that the deployment of a pre/post-training test is an effective measure of the training method’s influence on students if the test features a task that is significantly different from those trained on in the TETP.
8
Stephenson, Matthew. "Assessing the quality of low frequency audio reproduction in critical listening spaces". Thesis, University of Salford, 2012. http://usir.salford.ac.uk/28319/.
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The quality of low frequency audio reproduction in small spaces has always been problematic. For some time, methods have been suggested in order to optimise this reproduction. Many such methods have been based upon objective metrics which remain unproven from a subjective perspective. Whilst perception has been studied, this thesis identifies a research gap for more thorough testing. A series of listening tests has been conducted, with virtual rooms auralised and presented over headphones in order to isolate specific modal parameters and allow efficient collection of subjective response from many listening environments. The work presented searches for optimal values and perceptual thresholds of three parameters - modal spacing, density and decay. Results show that optimal spacings and densities may only be defined where assumptions are made which are not valid in realistic listening spaces. Thresholds of modal decay1 have been defined, which are considered valid re- gardless of stimuli or replay level. These are around 0.2 seconds for frequencies above 100Hz, and increase sharply below this point to around 0.85 seconds at 32Hz. Through the testing of these parameters, it is shown that whilst discrimination between two rooms is usually a simple task, this does not reveal the underlying repro- duction quality. The perceived quality of the room response is of great importance, and new experiments assess this quality using a paired comparison method which provides a simpler subjective task than direct scaling methods. A set of descriptors is elicited which can be used to evaluate low frequency audio. These descriptors - articulation, resonance and bass energy - are used to assess the impact of three room parameters on perceived reproduction quality. Room response metrics are also eva- luated for perceived quality. Results reveal that modal decay is a primary indicator of quality, with shorter decays producing rooms with a higher perceived quality of reproduction.
9
Elmosnino, Stephane J. "Instructional design considerations for the development of critical listening skills in audio engineers". Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/122414/1/Stephane_Elmosnino_Thesis.pdf.
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This project is a qualitative study which examines how best practice in multimedia learning can benefit learners using text-and-illustrations-based books. Drawing on data from six undergraduate audio engineering students, instructional design elements which are appropriate for the improvement of critical listening skills are put forward.
10
Watson, John Lawrence, i not supplied. "An investigation into the identification of objective parameters correlating with the subjective functional performance of critical listening rooms". RMIT University. Applied Sciences, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080218.092220.
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The link to subjective parameters and objective parameters in the field of room acoustics has been the source of much research. This thesis surveys some of the available objective room acoustical analysis methods, quantify their advantages and disadvantages with respect to the measurement of acoustical qualities of professionally operated critical listing rooms, and implements these methods in a range of critical listening rooms. In conjunction with the objective room analysis, a subjective component of research was also performed. A series of anechoically recorded standard instrument sounds were presented to professional listeners in their critical listening spaces with the listeners asked to alter the sounds to taste: to
11
Johnson, Daniel Clinton. "The effect of critical thinking instruction in music listening on fifth-grade students' verbal descriptions of music". Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/290007.
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The purpose of this study was to determine the effect of critical thinking instruction on the music listening skills of fifth grade students as measured by written responses to music listening examples. It was hypothesized that music listening instruction including opportunities for critical thinking (Critical Thinking Instruction, CTI) would be more effective than parallel instruction without critical thinking instruction (Activity-Based Instruction, ABI). CTI consisted of four components: musical terms and concepts, repeated music listening examples, responding activities, and opportunities for critical thinking. In contrast, ABI consisted of three components: musical terms and concepts, repeated music listening examples, and responding activities; ABI did not include opportunities for critical thinking. Both CTI and ABI treatments were taught concurrently by the same music teacher at the same school in a series of sixteen (16) forty-five (45) minute lessons. Two intact classes of subjects were randomly assigned to the CTI and the ABI treatment groups (n = 41 and 40, respectively). "Thinking and Listening," a researcher-designed dependent measure, was administered as a pretest and a posttest. Subjects' written responses were classified into three categories (i.e. musical, affective, or associative) and scored by three independent judges. Additionally, the Musical Aptitude Profile (Gordon, 1967/1995) was administered as a covariate. Significant disordinal interaction effects in subjects' responses by test by treatment were found such that CTI subjects demonstrated greater gains in musical term, associative, and total response scores from pretest to posttest than did ABI subjects. Additionally, significant main effect differences between treatment groups were found such that CTI subjects demonstrated higher musical term, affective, associative, and total response scores than did ABI subjects. Significant main effect within group differences were also found such that CTI subjects demonstrated significantly higher musical term, affective, associative, and total response scores on the posttest as compared to the pretest, while no significant main effect differences were found in ABI subjects' response scores. The positive effects of the CTI treatment, however, should be interpreted with caution based on larger than expected standard deviations and departures from normal distributions. Implications include designing music listening instruction to incorporate critical thinking skills.
12
Semičiovaitė, Samanta. "Muzikos klausymosi veiklos optimizavimas 7–8 klasių mokinių kritinio mąstymo ugdymo aspektu". Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130611_162558-93975.
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Darbe aptariamas muzikos klausymosi veiklos teorinis aspektas, kritinio mąstymo samprata, muzikos klausymosi veiklos tobulinimo, skatinant kritinio mąstymo ugdymą, galimybės. Bakalauro darbo tikslas – ištirti muzikos klausymosi veiklos gerinimo galimybes, skatinant kritinį mąstymą. Darbo tikslui pasiekti išketi šie uždaviniai: išsiaiškinti muzikos klausymosi veiklos proceso esmę, išsiaiškinti muzikos suvokimo ir muzikinio mąstymo svarbą muzikiniame ugdyme, apžvelgti paauglystės laikotarpio psichologinius ir fiziologinius ypatumus, jų poveikį muzikos klausymuisi, išsiaiškinti kritinio mąstymo sampratą, išsiaiškinti muzikos klausymosi veiklos tobulinimo, skatinant kritinio mąstymo ugdymą, galimybes, ištirti kritinio mąstymo ugdymo apraiškas 7–8 klasių mokinių požiūrio į muzikos klausymosi veiklą tyrimo kontekste. Tyrimo objektas yra muzikos klausymosi veikla kritinio mąstymo ugdymo aspektu. Tyrimas atliktas Šiaulių progimnazijoje. Anketinės apklausos metodu siekta išsiaiškinti kritinio mąstymo ugdymo apraiškas 7–8 klasių mokinių požiūrio į muzikos klausymosi veiklą tyrimo kontekste.This paper analyses with theoretical aspect of music listening activities, the concept of critical thinking, as well as the possibilities to improve music listening activities in order to develop critical thinking. The objective of this Bachelor thesis is to explore the possibilities of music listening activities in order to develop critical thinking. Aims, set to achieve this objective, are: to identify the essence of music listening process; to explore the importance of musical perception and cogitation in musical education, their influence on listening activities; to identify the concept of critical thinking; to identify the possibilities to improve music listening activities in order to develop critical thinking; to examine the manifestation of critical thinking development in the context of the research dealing with the attitude of 7-8-formers towards the music listening activities. The object of this research is musical listening activities in the aspect of the development of critical thinking. The research was conducted in Šiauliai progymnasium. A questionnaire was used to explore the manifestation of critical thinking development in the context of the research dealing with attitude of 7-8-formers towards the music listening activities.
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Wallin-Ruschman, Jennifer. "A Girl Power Study: Looking and Listening to the Role of Emotions and Relationality in Developing Critical Consciousness". PDXScholar, 2014. https://pdxscholar.library.pdx.edu/open_access_etds/1837.
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The concept of critical consciousness centers on the capacity for involvement in social change efforts. Its development has been the aim of many recent social movements (e.g., the consciousness raising groups of the women's movement). In this work, critical consciousness is defined as the highest level of socio-political-cultural (SPC) consciousness development. SPC consciousness is characterized by the linking of the personal and the political so that structures and discourses of oppression are not only understood but also lead to critical action and transforming relations of domination. Additionally, critical consciousness includes the ability to tolerate ambivalence and conflict as well as the capacity to form group identifications that support critical reflection. While critical consciousness can develop in a variety of settings, it has a historical affinity with liberation education projects, particularly education projects that combine Critical Pedagogy and community engaged learning.
Empirical inquiry on critical consciousness development is extremely limited. This dissertation addresses that gap, focusing specifically on the role of emotion and relationality in critical consciousness development. Further, the study offers a feminist critique of the literature, addressing as well the contribution of Community Psychology to conceptualizing critical consciousness.
This dissertation analyzes data gathered through the Girl Power Senior Capstone, a course routinely taught at an urban Pacific Northwest public university. The six-hour course lasts for one quarter-term and integrates classroom time with community engagement. A central aim of the course is the development of critical consciousness. Specifically, the research was designed to address the following questions: 1) How are emotionally and relationally significant Girl Power experiences related to SPC consciousness development? 2) What tensions arise between the dominant culture and/or significant others' values and the values of the Girl Power capstone and how do these tensions move individuals toward or away from critical consciousness?
The theoretical framework and interview schedule were guided by participant observation of the Girl Power course conducted over an academic term. Semi-structured interviews were conducted with all consenting and available capstone participants (N=10) in the course where participant-observations were carried out. The interviews were transcribed and analyzed based on a modified version of Carol Gilligan's Listening Guide.
Two primary themes emerged from the data analysis-- the processes of awakening and sources of dissonance. The first theme relates to the processes of transformation that participants undergo during and following the course. Participants discuss this process as coming to see the world in a new way though their emotional experiences and relations developed in the course. The second theme, sources of dissonance, addresses sources of conflict that emerge as participants undergo this process of awakening. Areas of tension that were particularly salient centered on relationships and experiences in the course. Participants identified experiences in the course that they perceived as contributing in key respects to SPC consciousness. Yet some aspects of change in the course seemed to reflect limiting capacities, including magical thinking, a limited range of critical action strategies, and lack of critical community post Girl Power. The findings from the dissertation can be used to inform the creation and implementation of future projects of critical consciousness development and social justice work more broadly.
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Brandberg, Marcus. "Is there a correlation between the natural reverberation in a critical listening environment and adjustments of an artificial reverb?" Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-74623.
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One of the mixing engineers most important tool when listening, analyzing and taking decisions is the physical space in which the reproduction system and the monitors are placed. The space needs to fulfill certain aspects to be able to qualify as a control room considered good for taking these decisions. In this study an active listening test was conducted to investigate if the RT60 of the natural reverberation in the room affected a mixing engineers’ decisions when adjusting parameters on an artificial reverb. 16 subjects participated, the subjects adjusted reverb level and reverb time of an artificial reverb in two different acoustical environments, with two different values of RT60. The environments were based on a professional control room made for mixing and mastering. The two values for RT60 was achieved through manipulating the room with diffusors and absorbing material. It was found that the subjects were able to adapt to the different acoustical environments, although other differences were found. The order of the which of the environments the subjects started in and which parameter the subject started adjusting, showed a considerable impact on the result. As well as what kind of factors the subjects considered when adjusting the artificial reverb.
15
Sarmento, Luciana Elena. "A escuta na contemporaneidade : uma pesquisa de campo em educação musical /". São Paulo : [s.n.], 2010. http://hdl.handle.net/11449/95151.
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Orientador: Marisa Trench de Oliveira FonterradaBanca: Enny José Parejo
Banca: Ilza Zenker Leme Joly
Resumo: Nesta pesquisa foi realizada uma discussão a respeito de música, som, e suas concepções na contemporaneidade, sob a luz de textos de Theodor Adorno, Jacques Attali e Murray Schafer. O posicionamento tomado por tais pensadores evidencia, sob diferentes perspectivas, a necessidade da realização de um trabalho voltado para a escuta atenta e consciente dos sons, com vistas ao desenvolvimento do senso crítico e da criatividade. Diante desta constatação, nesta dissertação teve-se como objetivo investigar se alguns educadores musicais da cidade de São Paulo realizam em suas aulas um trabalho direcionado à escuta, bem como ao desenvolvimento da atenção, concentração, criatividade e senso crítico dos estudantes, aspectos tão necessários à sociedade atual. Nos casos em que isso foi observado, procurou-se conhecer de que forma esse trabalho ocorre. Para esta pesquisa de caráter qualitativo, realizada em sete diferentes instituições, envolvendo nove educadores musicais, utilizou-se o método de observação não participante juntamente com entrevista estruturada. A análise dos dados colhidos permitiu que se percebesse que todos os educadores pesquisados realizavam em suas aulas atividades relacionadas ao desenvolvimento da escuta, atenção e concentração dos estudantes; entretanto, o mesmo não se pode dizer com relação ao desenvolvimento da criatividade e do senso crítico dos alunos. Após essa constatação, realizou-se uma discussão acerca dos dados encontrados, relacionando-os com a bibliografia estudada
Abstract: In this research was made a survey about music, sound and their conceptions in the contemporaneous time, based on the texts of Theodor Adorno, Jacques Attali and Murray Schafer. The studies made by those thinkers pointed out under different perspectives, the need of having a work directed towards the careful and conscious listening of the sounds, aiming to develop the critical sense and creativity of the students. According to the verification in this paper, it was raised the objective of investigating if some educators of São Paulo City perform in their classes a work focusing on listening, as well as the development of attention, concentration and critical sense of the students, issues which are so necessary for the current society. In the cases where those issues were observed, it was known the way that work was done. For this research with qualitative characteristic, which was made in seven different institutions, having the participation of nine musical educators, was adopted the method of non-participative observation and structured interview. The data collected allowed us to realize that all musical educators surveyed, performed in their classes activities aiming to develop the listening, attention and concentration of the students, however, the same cannot be said about the development of creativity and critical sense of the students. After the observation, it there was a discussion about the collected data, comparing them to the bibliography studied
Mestre
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McRae, Chris. "Hearing Miles Davis: A Pedagogy of Autobiographical Performance and Jazz". OpenSIUC, 2011. https://opensiuc.lib.siu.edu/dissertations/358.
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This dissertation argues for a relational ethic of listening that emphasizes the pedagogical role of the listener as a student in dialogically hearing, producing, and responding to the other. This ethic of listening works to hear possibilities amongst differences, and to ethically account for and learn from the cultural, historical, and embodied differences of the other as they are produced relationally amongst macro-structures and micro-practices. In order to develop this ethic of listening, I pay specific attention to my solo autobiographical performance, Miles away from "The Cool," in which I present my autobiographical and musical reading of the autobiography of trumpet player Miles Davis, Miles. This performance and my research regarding the music, life story, and cultural significance of Davis functions as an example for my development of a listening centered approach to pedagogy. Listening to jazz and the music of Davis provides an approach to hearing possibilities as they are enabled and constrained by larger macro-structures and specific micro-practices. I argue this approach to listening can be extended to research regarding autobiography and geographic location. Listening to autobiography and location can enable a critical and ethical understanding of the ways history, context, and power play on bodies in jazz, autobiography, location and autobiographical performance. After explaining this relational ethic of listening in terms of autobiography and jazz, I make the case for listening as a performative act in which as listeners we are always students to the other. Performative listening is a critical communicative act that works to ethically and pedagogically hear and learn from the other. Performative listening emerges from a relational ethic of listening, and it is a productive pleasure that works to hear possibilities in and amongst differences.
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Arifin, Anisa Aini. "Always Listening? : An Exploratory Study of the Perceptions of Voice Assistant Technology in Indonesia". Thesis, Uppsala universitet, Institutionen för samhällsbyggnad och industriell teknik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-414173.
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Voice assistant technology on smartphones, smart speakers, or those on the wearable devices is one of the fastest-growing artificial intelligence applications in the market now. However, with the potential ethical issues related to the voice technology, it still has not been extensively covered in major markets such as Indonesia. Therefore, this study aims to explore Indonesians’ perception of voice assistant technology, mainly focusing on whether ethical concerns might play a role in their adoption and use of the technology. Firstly, the picture of the discussion about voice assistants and the possibilities of ethical issues is surrounding the technology in the Indonesian landscape by media is presented using Critical Discourse Analysis (CDA). The findings indicate that educational and informative material has a wider resonance compared to ethical concerns and the downsides received from the technology. Secondly, the study also explored the motivations to adopt and use the technology, focusing on whether ethical concerns might play a role in their perception of the technology, attitude, and experience toward voice assistants through semi-structured interviews. The data, then, was analyzed using the Technology Acceptance Model (TAM). It shows that the users who perceive the voice assistant useful or easy to use still use it to a varying extent. It indicates that TAM variables are not fully explaining the adoption of technology. Adding an ethical framework, we can see that most of the users do not have enough knowledge of the technology they use. It resonates with the portrayal of the subject in media. However, those who are unaware of or neglect the situation to adopt and use the technology still use voice technology influenced by peer pressure, their respect for authority, and other rationalization behavior. Meanwhile, mediation theory explores the influence of the human- technology relationship on the ethical behavior of the users. It also explains that the relation between technology and users is an alterity relationship.
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Upham, Finn. "Quantifying the temporal dynamics of music listening: a critical investigation of analysis techniques for collections of continuous responses to music". Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104495.
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Continuous response measurement offers a data-rich trace of a listener's experiences of music in time. Listeners' responses are most often studied in collections---each a set of time series of the same response measure to the same stimulus from multiple listenings. Inter-response variability and the challenges of time series analysis complicate the interpretation of these collections. This thesis describes traditional and novel methods of analyzing collections of continuous responses to music with the goal of identifying what information can be found in these collections before trying to establish possible relationships to the features of the stimulating music. Besides mathematical investigations of these analysis methods, their potential outcomes are assessed by applying each to forty experimental collections of continuous rating responses and four artificial collections of unrelated continuous rating responses. The traditional analyses studied include the average response time series and Pearson correlations between continuous responses as a measure of response reliability. The chapter on novel techniques introduces activity analysis and coordination tests, evaluates measures of the relative significance of time points in these collection, and applies cluster analysis in search of distinct patterns of response to the same stimuli. The results of these analyses suggest that though music does not provoke the same continuous response from all listeners, musical works can induce distinct and repeatable listening experiences which are measurable in collections of continuous responses.L'évaluation des réactions continues permet d'obtenir un tracé riche en données de l'expérience des auditeurs par rapport à la musique au fil du temps. En règle générale, les réactions des auditeurs sont analysées par ensembles, c'est-à-dire par groupes de séries chronologiques portant sur de mêmes relevés de réactions au même stimulus provenant d'écoutes multiples. La variabilité entre les réactions et les défis inhérents à l'analyse des séries chronologiques rendent l'interprétation de ces ensembles encore plus complexe. La présente thèse décrit des méthodes traditionnelles et nouvelles d'analyse d'ensembles de réactions continues à la musique afin d'identifier quelles informations peuvent être recueillies dans ces ensembles avant de tenter d'établir des liens possibles avec les caractéristiques de la musique stimulante. En plus de l'étude mathématique de ces méthodes d'analyse, leurs résultats potentiels ont été évalués en appliquant chacune d'entre elles à quarante de ces ensembles d'évaluation de réactions continues ainsi qu'à quatre ensembles artificiels d'évaluations de réactions continues non apparentés. Les analyses traditionnelles étudiées comprennent les séries chronologiques moyennes et des corrélations de Pearson entre les réactions continues comme évaluation de la fiabilité de la réaction. Le chapitre portant sur les nouvelles techniques commence par une présentation de l'analyse de l'activité et des tests de coordination. Par la suite, il évalue les mesures de pertinence des repères temporels de ces ensembles, puis il rend compte de l'analyse par regroupements visant à identifier des modèles précis de réactions aux mêmes stimuli. Les résultats de ces analyses sous-tendent que bien que la musique ne provoque pas la même réaction chez tous les auditeurs, l'oeuvre musicale peut créer des expériences d'écoute distinctes et reproductibles pouvant être évaluées dans des ensembles de réactions continues.
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Sarmento, Luciana Elena [UNESP]. "A escuta na contemporaneidade: uma pesquisa de campo em educação musical". Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/95151.
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sarmento_le_me_ia.pdf: 1376992 bytes, checksum: 7f36a4b51afd56835147542e75e49364 (MD5)Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
Nesta pesquisa foi realizada uma discussão a respeito de música, som, e suas concepções na contemporaneidade, sob a luz de textos de Theodor Adorno, Jacques Attali e Murray Schafer. O posicionamento tomado por tais pensadores evidencia, sob diferentes perspectivas, a necessidade da realização de um trabalho voltado para a escuta atenta e consciente dos sons, com vistas ao desenvolvimento do senso crítico e da criatividade. Diante desta constatação, nesta dissertação teve-se como objetivo investigar se alguns educadores musicais da cidade de São Paulo realizam em suas aulas um trabalho direcionado à escuta, bem como ao desenvolvimento da atenção, concentração, criatividade e senso crítico dos estudantes, aspectos tão necessários à sociedade atual. Nos casos em que isso foi observado, procurou-se conhecer de que forma esse trabalho ocorre. Para esta pesquisa de caráter qualitativo, realizada em sete diferentes instituições, envolvendo nove educadores musicais, utilizou-se o método de observação não participante juntamente com entrevista estruturada. A análise dos dados colhidos permitiu que se percebesse que todos os educadores pesquisados realizavam em suas aulas atividades relacionadas ao desenvolvimento da escuta, atenção e concentração dos estudantes; entretanto, o mesmo não se pode dizer com relação ao desenvolvimento da criatividade e do senso crítico dos alunos. Após essa constatação, realizou-se uma discussão acerca dos dados encontrados, relacionando-os com a bibliografia estudada
In this research was made a survey about music, sound and their conceptions in the contemporaneous time, based on the texts of Theodor Adorno, Jacques Attali and Murray Schafer. The studies made by those thinkers pointed out under different perspectives, the need of having a work directed towards the careful and conscious listening of the sounds, aiming to develop the critical sense and creativity of the students. According to the verification in this paper, it was raised the objective of investigating if some educators of São Paulo City perform in their classes a work focusing on listening, as well as the development of attention, concentration and critical sense of the students, issues which are so necessary for the current society. In the cases where those issues were observed, it was known the way that work was done. For this research with qualitative characteristic, which was made in seven different institutions, having the participation of nine musical educators, was adopted the method of non-participative observation and structured interview. The data collected allowed us to realize that all musical educators surveyed, performed in their classes activities aiming to develop the listening, attention and concentration of the students, however, the same cannot be said about the development of creativity and critical sense of the students. After the observation, it there was a discussion about the collected data, comparing them to the bibliography studied
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Henshaw, Nathan James. "It Don’t Mean A Thing, If It Ain’t Got That Swing: Overcoming stylistic challenges in cross-over repertoire through self-reflective learning and critical listening". Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/21199.
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Cross-over works in modern saxophone repertoire – i.e. works in which aspects of jazz and classical music conventions are used – present a range of interpretive challenges for undergraduate saxophone students. These challenges are augmented by the current structure of many tertiary music programs in which the development of jazz and classical performance skills take place in parallel programs. This study identifies the interpretive challenges associated with performing cross-over repertoire, examines the studio practices of seven master saxophone pedagogues who have successfully worked with undergraduate students in the development of cross-over works and puts forth a template for enhancing these studio practices through the incorporation of critical listening and self-reflection strategies that have been linked in a spectrum of music education studies with student empowerment and self-directed learning. The findings of this study indicate that while successful saxophone pedagogues often find ways of working around institutional deficiencies when developing student’s skill sets, student initiative plays a large role in determining the successful realisation of cross-over repertoire. The two potential models of studio pedagogy put forth at the end of this thesis aim to demonstrate how developing student initiative might feature more prominently in the context of one-to-one teaching.
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Devadoss, Ruth. "Lessons from Listening: The Aid Effectiveness Agenda : A Critical Systems Heuristics analysis of the Grand Bargain and Paris Declaration for Aid Effectiveness from the perspective of implementers and local practitioners". Thesis, Linnéuniversitetet, Institutionen för samhällsstudier (SS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-80331.
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Wide debates over the last 15 years have questioned the impact of global initiatives like the Paris Declaration on Aid Effectiveness 2005 and more recently the Grand Bargain 2017 on any real improvements to the development effectiveness agenda. Many also ask to what extent do the initiatives consider the concerns and views of practitioners as stakeholders who implement the objectives and who have valuable experience, contextual insights, specific skill-sets and innovative ideas on how to address complex problems (Sjöstedt 2013). The breadth of literature surrounding the initiatives seems to reflect this, collectively calling for improvements in four common theme areas; greater collaboration, partnership and coordination between actors; instilled mutual accountability and shared responsibility; simplified administrative requirements for implementers; and greater participation and inclusion of stakeholder voices throughout processes. Questions that ask ‘who are the actors and decision-makers?’, and ‘who ought they be?’ can highlight gaps between an ideal situation and the reality, and is characteristic of a Critical Systems Heuristics (CSH) approach to analysing sources of influence in a typical system, or in this case, global initiative. Therefore, this paper analyses the voices of aid and development practitioners who are actively working in the sector, and compares their responses to the four themes from the literature. The research was conducted over three (3) months from May to July 2018 and interviewed nineteen (19) participants from a wide variety of development and humanitarian backgrounds and levels. The main findings of the research are summed as follows: Definitions of ‘effectiveness’ vary and depend on underlying political influences Global initiatives like the Paris Declaration and Grand Bargain have had minimal visible impact on changing systems at the implementation level The role of global initiatives is however still important as forums for promoting discussion, defining boundaries and unifying debates Power imbalances and hierarchies within the development sector are structurally embedded and addressing this is crucial to improving effectiveness Real improvements to the effectiveness agenda require both innovative, participative and evidence-based learning, and systems to accept and address the concerns of implementers
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Forsse, Viktor, i Tobias Anderberg. "Osynliga Processer : En audiell utforskning av det osynliga". Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-14554.
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Med detta kandidatarbete vill vi skapa en koppling mellan vårt lyssnande och de osynliga processer som omringar oss i den digitala teknik vi använder vardagligen. Med Salomé Voegelins okonventionella syn på hur vi lyssnar på vår omgivning samt teorin kring AlgoRHYTHMS som utgångspunkt har vi genomgått en djupgående utforskning av denna relation.Genom att tillämpa Critical Making i en experimentell skapandeprocess med ambitioner´ att hitta en materialitet i det subliminala hittade vi istället ett samspel mellan två osynliga medier som tillsammans bildar en digital materialitet.With this bachelor thesis our aim to establish a connection between our listening and the invisible processes that surrounds us inside the digital technology we use on a daily basis. With the unconventional views of Salomé Voegelin on how we listen to our surroundings together with the theory of AlgoRHYTHMS as a starting point we have undergone a in-depth exploration of this relation.By applying Critical Making in an experimental creative process with the ambition to find a materiality in the subliminal we instead found an interaction between two invisible mediums which together forms a digital materiality.
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Risarto, Maria Elisa Ferreira. "A leitura à primeira vista e o ensino de piano /". São Paulo : [s.n.], 2010. http://hdl.handle.net/11449/95153.
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Orientador: Sonia Regina Albano de LimaBanca: Celso Antonio Mojola
Banca: Amilcar Zani Neto
Resumo: A leitura ao piano é utilizada pela maioria dos músicos: arranjadores, regentes, compositores, professores de matérias teóricas, cameristas, instrumentistas, acompanhadores e correpetidores. Mesmo assim, os cursos de música ainda não oferecem na sua matriz curricular uma disciplina essencialmente voltada para o desenvolvimento da leitura à primeira vista. Esse fato contribui para a formação de instrumentistas alheios a essa prática, situação que se agrava ainda mais, quando se trata dos pianistas. Esta dissertação, utilizando a pesquisa-ação como modelo investigativo, parte dessa problemática, fazendo uso de procedimentos variados para demonstrar a importância de se introduzir nos cursos de música, a disciplina leitura à primeira vista ao piano como suporte pedagógico auxiliar ao desenvolvimento da performance. Primeiramente a mestranda avaliou os resultados pedagógicos obtidos no curso de leitura à primeira vista para pianistas, realizado na Escola Municipal de Música. Nele foi empregada a metodologia de Wilhelm Keilmann dirigida ao desenvolvimento da leitura à primeira vista para pianistas, descrita no método Introdution to sight-reading at the piano or other keyboard instrument (1972). Também foram entrevistados diversos pianistas e professores do instrumento, com o intuito de verificar de que forma essa habilidade foi incorporada no cotidiano desses instrumentistas e como ela é ensinada por eles. Integrou a pesquisa o levantamento bibliográfico efetuado, com o intuito de compreender a natureza e o sentido da leitura à primeira vista na performance e o quanto ela depende do aprendizado anterior da lecto-escrita musical. Graças a esse levantamento observou-se que nem sempre o aprendizado da lecto-escrita musical obedece a um trabalho seqüencial dos conteúdos teórico-musicais, vivenciados anteriormente, produzindo um hiato entre o nível de leitura musical do ... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: Reading piano scores is used by most musicians, arrangers, conductors, composers, teachers of theoretical subjects, chamber musicians, instrumentalists, accompanists and co-repetitors. Nevertheless, the music courses still have not offered in their syllabus a subject which is essentially directed to the development of sight-reading. This fact has contributed to the formation of instrumentalists who are foreign to this practice, a situation which becomes even worse in the case of pianists. Making use of the action-research as an investigative model, this dissertation starts from this problem, using various procedures in order to demonstrate the importance of introducing the subject of piano sight-reading in the music courses as a pedagogical aid to promote the development of the performance. As a first step, the graduate student evaluated the pedagogical results achieved in the course of sight-reading for pianists, held at the Municipal School of Music [Escola Municipal de Música]. In this course, Wilhelm Keilmann‟s methodology directed to pianists was used, as described in his Introduction to sight-reading at the piano or other keyboard instrument (1972). Several pianists and teachers have been interviewed in order to verify the way in which this ability has been incorporated into these instrumentalists‟ daily lives and how it is taught by them. As part of the research, the bibliographic raising was carried out in order to understand the nature and the meaning of sight-reading in the performance, as well as how much it depends on the previous learning of musical reading and writing. Thanks to this data collecting, it was observed that the learning of musical reading and writing does not always follow a sequential study on the theoretical and musical contents which were previously experienced. This seems to produce a gap between the level of reading music by the pianist and his ... (Complete abstract click electronic access below)
Mestre
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Freitas, Stefanie Grace Azevedo de. "Modelagem como estratégia para o desenvolvimento de recursos expressivos na performance pianistica : três estudos de casos". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/71790.
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Neste trabalho discutimos três estudos de caso com o objetivo de investigar empiricamente a modelagem como ferramenta de estudo no desenvolvimento musical e pianístico de alunos do Bacharelado em Instrumento/Piano da UFRGS. Durante a pesquisa, cada um dos três participantes foi instruído a ouvir atentamente uma gravação de pianista de renome internacional como modelo a ser seguido. Na etapa da coleta de dados, os participantes realizaram três gravações de dois trechos contrastantes de uma obra do seu repertório e gravaram cinco entrevistas semiestruturadas. A análise dos dados baseou-se nos relatos sobre as preocupações referentes aos trechos escolhidos, nas reflexões sobre os efeitos da modelagem, na observação das características de suas interpretações após a modelagem e na análise do andamento e da condução do tempo musical. Para isso, utilizamos o software Sonic Visualiser. A análise de dados juntamente com o conjunto de entrevistas individuais comprovam nossa hipótese de que a modelagem incrementa e amplia os recursos expressivos dos participantes, incentiva a autonomia e individualidade de suas interpretações e potencializa a audição crítica e a reflexão sobre processos de estudo.This research presents three case studies aiming at empirically investigating modeling as a learning tool for the musical and pianistic development of undergraduate students. Each one of the three students was instructed to critically listen to the recording of a famous pianist as a model to be followed. Data collection combined three recording sessions of two contrasting excerpts already in the students repertoire and five semi- structured interviews. The analysis of the resulting data was based on individual reports concerning the selected musical segments as well as their reflection on learning processes in relation to the model, observations of interpretive characteristics after the modeling and analysis of timing and choices of musical tempo. The chosen software was Sonic Visualiser. Data analysis in combination with the sets of individual interviews confirmed our initial hypothesis that modeling increases and widens the their interpretations, potentiates critical listening and promotes reflection on learning processes.
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Willis, Brian. "Listening to parents of children with autistic spectrum disorder : using interpretative and critical research approaches to consider 'how parent experience of bringing up a child with autism can inform professional practice and provision'". Thesis, University of Sheffield, 2008. http://etheses.whiterose.ac.uk/14501/.
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The main aim of the study was to consider how parents' experiences of bringing up a child with autism might inform professional practice and provision. The enquiry investigated how mothers made sense of their experiences and the effects of bringing up their child, including their coping mechanisms and the arising key messages for practice. The study was based in a LA context and was carried out by a practising Educational Psychologist (EP). This research practitioner orientation required critical or action research elements to merge with interpretative method. Thus, initial contact was made with autism parent groups to ground the study in a local context and to develop research and interview questions. Critical action planning resulted from concerns arising from these groups. Semi-structured interviews were carried out with six mothers whose circumstances in bringing up their child had been particularly challenging. Their children attended both mainstream and special autism provision in the primary and secondary school sectors. The themes emerging from the powerful joint interpretative account of the mothers highlighted a deconstruction and reconstruction of self and expectations with unfulfilled wishes and control as key themes. Life impacts involved the child as central focus, an all-pervasive constant battle with self and others, including family, professionals and provision with associated child management issues being present. These key themes impacted on professional practice; and provision so that the importance of informed professional awareness, truly listening professionals, accepting school identity and service trust were highlighted. Professionals and parents should develop an understanding and acceptance of the child and each other, which still enables challenge and change. The position of fathers in family support needs further research and careful professional consideration. Professionals, including EPs, need to address the way they listen to parents. Some recommendations for all agencies and parents are provided which should lead us to a deeper understanding of humanity.
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Risarto, Maria Elisa Ferreira [UNESP]. "A leitura à primeira vista e o ensino de piano". Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/95153.
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risarto_mef_me_ia.pdf: 2316186 bytes, checksum: d8d667493a5634fb2e2dccbfeb3c1227 (MD5)Universidade Estadual Paulista (UNESP)
A leitura ao piano é utilizada pela maioria dos músicos: arranjadores, regentes, compositores, professores de matérias teóricas, cameristas, instrumentistas, acompanhadores e correpetidores. Mesmo assim, os cursos de música ainda não oferecem na sua matriz curricular uma disciplina essencialmente voltada para o desenvolvimento da leitura à primeira vista. Esse fato contribui para a formação de instrumentistas alheios a essa prática, situação que se agrava ainda mais, quando se trata dos pianistas. Esta dissertação, utilizando a pesquisa-ação como modelo investigativo, parte dessa problemática, fazendo uso de procedimentos variados para demonstrar a importância de se introduzir nos cursos de música, a disciplina leitura à primeira vista ao piano como suporte pedagógico auxiliar ao desenvolvimento da performance. Primeiramente a mestranda avaliou os resultados pedagógicos obtidos no curso de leitura à primeira vista para pianistas, realizado na Escola Municipal de Música. Nele foi empregada a metodologia de Wilhelm Keilmann dirigida ao desenvolvimento da leitura à primeira vista para pianistas, descrita no método Introdution to sight-reading at the piano or other keyboard instrument (1972). Também foram entrevistados diversos pianistas e professores do instrumento, com o intuito de verificar de que forma essa habilidade foi incorporada no cotidiano desses instrumentistas e como ela é ensinada por eles. Integrou a pesquisa o levantamento bibliográfico efetuado, com o intuito de compreender a natureza e o sentido da leitura à primeira vista na performance e o quanto ela depende do aprendizado anterior da lecto-escrita musical. Graças a esse levantamento observou-se que nem sempre o aprendizado da lecto-escrita musical obedece a um trabalho seqüencial dos conteúdos teórico-musicais, vivenciados anteriormente, produzindo um hiato entre o nível de leitura musical do...
Reading piano scores is used by most musicians, arrangers, conductors, composers, teachers of theoretical subjects, chamber musicians, instrumentalists, accompanists and co-repetitors. Nevertheless, the music courses still have not offered in their syllabus a subject which is essentially directed to the development of sight-reading. This fact has contributed to the formation of instrumentalists who are foreign to this practice, a situation which becomes even worse in the case of pianists. Making use of the action-research as an investigative model, this dissertation starts from this problem, using various procedures in order to demonstrate the importance of introducing the subject of piano sight-reading in the music courses as a pedagogical aid to promote the development of the performance. As a first step, the graduate student evaluated the pedagogical results achieved in the course of sight-reading for pianists, held at the Municipal School of Music [Escola Municipal de Música]. In this course, Wilhelm Keilmann‟s methodology directed to pianists was used, as described in his Introduction to sight-reading at the piano or other keyboard instrument (1972). Several pianists and teachers have been interviewed in order to verify the way in which this ability has been incorporated into these instrumentalists‟ daily lives and how it is taught by them. As part of the research, the bibliographic raising was carried out in order to understand the nature and the meaning of sight-reading in the performance, as well as how much it depends on the previous learning of musical reading and writing. Thanks to this data collecting, it was observed that the learning of musical reading and writing does not always follow a sequential study on the theoretical and musical contents which were previously experienced. This seems to produce a gap between the level of reading music by the pianist and his ... (Complete abstract click electronic access below)
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Atkins, Zohar. "Unframing existence : an ethical and theological appropriation of Heidegger's critique of modernity". Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:4ddc46cd-b7be-46ad-beb4-5b51db89aaa1.
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This thesis argues that Heidegger’s thought offers crucial insights into the structural challenges that modernity poses to being an ethical and religious person. I argue that these difficulties come down to an instrumentalist conception of truth, a denial or repression of finitude as the condition of meaningfulness, and a philosophical anthropology that is both too subjectivistic and too objectivistic. Yet while Heidegger was good on the diagnosis, he was reluctant to give more than digressive and opaque prescriptions to these problems. My thesis seeks to respond to this lacuna by putting Heidegger’s critical observations in the service of articulating a positive religious ethics. To that end, it seeks to locate—as well as redefine from an ontological perspective—the human dispositions and practices that expose truth in a non-instrumental light, that show finitude as a positive condition of meaningfulness, and that reveal the essence of the human being in non-subjectivist and non- objectivist terms. I argue that these include listening and gratitude—dispositions and practices I claim should form the backbone of any religious ethics, and yet which I also claim should not be limited to those who believe in a personal, theistic God. My thesis contributes to the fields of modern theology and Heidegger Studies in four ways. First, it shows that Heidegger’s critics (such as Levinas and Adorno) are wrong to oppose ontology to ethics. Second, it shows that Heidegger’s critics (such as Marion and Jonas) are wrong to oppose ontology to theology. Third, it shows that Heidegger’s own ambivalence about the ethical and theological relevance of his thought allows for the development of a deeply ethical and theological posture. And fourth, it offers a unique, post-Heideggerian interpretation of gratitude, one in which it is understood as a structure of Dasein that is both “always already” and “not yet” operative.
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Gras, Stéphan-Eloïse. "L'écoute en ligne. Figures du sujet écoutant et mutations des espaces musicaux sur Internet". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040210.
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Cette recherche interroge les figures du sujet écoutant en jeu dans les mutations des espaces musicaux sur Internet de 2007 à 2014, afin de penser l’écoute en ligne dans ses spécificités philosophiques et communicationnelles. On étudie un dispositif industriel et logiciel de recherche et de recommandation musical complexe, l’interface de programmation d’ Echonest, pour en saisir les effets esthétiques, c’est-à-dire pour comprendre dans quelle mesure la culture numérique contemporaine façonne l’expérience musicale. Trois angles sont successivement abordés : une archéologie de l’écoute montre les héritages de son expérience en ligne, une étude des politiques de l’archive et de l’algorithme incite à penser les axiologies industrielles de machines du goût, enfin une analyse sémio-pragmatique met en exergue le régime fictionnel de l’écoute à l’écran. Face à l’émergence d’une forme médiatique, le streaming, ces trois temps décrivent un régime numérique contemporain de la perception (sensorium digital) comme une discipline de l’écoutable qui s’appuie sur des modes fictionnels de production de sens en ligneThis research questions the figures of the listening subject in the context of the transformations of musical spaces on the Internet from 2007-2014, in order to consider the question of online listening from the perspective of the fields of philosophy and communications. I study the industrial and logical disposition (dispositif) of the API of The Echo Nest, a complex musical search and recommandation engine. I seek to grasp the aesthetic effects of this technoogy as a means of understanding the extent to which contemporary digital culture shapes musical experience. This is approached from three perspectives: an archeology of listening, which shows what is inherited in the online listening experience; a critical reading of the politics of digital archiving and algorithms,which incites us to think about the industrial axiologies of « machines of taste » ; and lastly, a semiotic-pragmatic analysis, which draws attention to the fictional modalities involved in mediated listening. With the emergence of music streaming as a new form of radio, this dissertation traces a contemporary regime of digitized perception (digital sensorium) that becomes a « discipline oflistenable » supported by the fictional mode of online production of meaning
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Hsin-ShangTseng i 曾信上. "Integrating Critical Thinking into Online Adaptive English Listening and Speaking Instruction". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/14441930258039720173.
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Joseph, Amy Elizabeth. "An adult ESL curriculum development project : integrating academic effectiveness with a critical orientation". Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-05-5609.
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This paper is a curriculum proposal for a mid to high beginner adult English as a Second Language class. It is hoped that this curriculum will prove to meet students’ academic needs, especially in terms of development of literacy, listening skills, and language learning strategies. In addition to this, the lessons include a critical orientation; that is, the class is structured to facilitate student engagement with social issues, namely racism and economic struggles. With these considerations in minds, two units comprising half the semester were developed and relevant extra materials are provided.text
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"Music Intervention to Prevent Delirium among Older Patients Admitted to a Trauma Intensive Care Unit and a Trauma Orthopedic Unit". Doctoral diss., 2015. http://hdl.handle.net/2286/R.I.36373.
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abstract: Greater than half of older adults who are admitted to an acute care setting experience delirium with an estimated cost between four to twenty billion dollars annually in the United States. As a strategy to address the gap between research and practice, this feasibility study used the Roy Adaptation Model to provide a theoretical perspective for intervention design and evaluation, with a focus on modifying contextual stimuli in a Trauma Intensive Care and a Trauma Orthopedic Unit setting. The study sample included older hospitalized patients in a Trauma Intensive Care and a Trauma Orthopedic setting where there is a greater incidence for delirium. Study participants included two groups, with one group assigned to receive either a music intervention or usual care. The music intervention included pre-recorded music, delivered using an iPod player with soft headsets, with music self-selected from a collection of music compositions with musical elements of slow tempo and simple repetitive rhythm that influence delirium prevention. For the proposed study a music intervention dose included intervention delivery for 60 minutes, twice a day, over a three day period following admission. Physiologic variables measured included systolic blood pressure, diastolic blood pressure, heart rate, and respiratory rate, which were electronically monitored every four hours for the study. The Confusion Assessment Method was used as a screening tool to identify delirium in the admitted patients. Specific aims of this feasibility study were to (a) examine the feasibility of a music intervention designed to prevent delirium among older adults, and (b) evaluate the effects of a music intervention designed to prevent delirium among older adults. Findings indicate there was a significant music group by time interaction effect which suggests that change over time was different for the music and usual care group.Dissertation/Thesis
Doctoral Dissertation Nursing and Healthcare Innovation 2015
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Mackie, Ardiss Emilie. "Popular film and English as a second language : toward a critical feminist pedagogy of identity and desire". Thesis, 2005. http://hdl.handle.net/2429/17015.
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My identity as a white woman ESL teacher has been structured partly through
movies I saw in my youth. More recently in the late 1990s, a film with ESL, The King
and I (1956), was on Japanese television two years in a row while I was teaching there.
I found that very interesting and began asking questions regarding the influences that
popular film may have on real ESL teachers and students. The study questions how
films contribute to ESL in terms of teacher and student identities and desires.
To explore this question, I collected three forms of data: 24 films with ESL;
post-secondary ESL teacher and student responses to watching two films with ESL; and
memories of films from my youth. A framework of critical and feminist pedagogy,
including work in identity and ESL, and postcolonial, cultural, and feminist studies
informed the analysis. I analyzed the data in relation to discourses of desire and the
body as a socially constructed site of racial and gender identification.
From the film data, I made the case that particular tropes, initiations, and signs
construct reel ESL, such as white female teachers as upholders of particular colonial
identities. From the teacher and student data, I found that readers engage with cinematic
meanings in a space of liminality, that is, not quite in the movie but not quite in
themselves. Readers by-pass their race, gender, age, and occupation to access the
cinematic body as politically engaged and disrupting the status quo. From the memory
data, I argued that through the seemingly innocent practice of watching movies, a world
of racialized and gendered desire was settling in and making itself comfortable.
The study is positioned in a critical feminist pedagogy of multiliteracies. Here,
diverse sites of meaning-making strengthen and disrupt the desires and identities of ESL.Education, Faculty of
Language and Literacy Education (LLED), Department of
Graduate
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Bucaretchi, Leon Tolentino. "O Ouvido Atento - Escuta e comunicação no estúdio de gravação". Master's thesis, 2017. http://hdl.handle.net/10362/25107.
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Este Cd contém 2 anexos que só podem ser consultados na Biblioteca Mário Sottomayor CardiaEste trabalho tem como ponto de partida um estágio para estudar a importância que a comunicação desempenha num contexto de gravação, de produção musical e de áudio em estúdio. Por razões práticas, aqui é considerada como produção musical os processos de discussões e escolhas que permeiam as sessões de gravação propriamente ditas, não a préprodução que precede as mesmas. Partindo de situações práticas, são abordadas a importância do conhecimento técnico do som (durante os processos de gravação e manipulação do som) e a relevância da comunicação entre o(s) performer(s) e responsáveis pela produção (e ou gravação) do conteúdo. Este trabalho visa refletir sobre esta questão e oferecer pistas no que diz respeito ao diálogo entre produtor e performer, propondo abordagens que facilitam a alternância entre as diferentes funções que são realizadas neste ambiente de trabalho. Finalmente, sugerimos possibilidades que auxiliam na criação de um ambiente técnico e psicológico adequado ao registo da performance com a melhor qualidade possível, ao mesmo tempo que esclarecemos alguns pontos que pretendem auxiliar aqueles interessados a se iniciarem na área.
This work has as a starting point an internship in a recording studio to study the importance that communication plays in the context of recording a music production or audio. For practical reasons, here is considered as musical production the discussions and choices that permeate the recording sessions themselves, rather than the pre-production that precedes them. Based on practical situations, we will discuss the importance of the technical aspects of sound (regarding its recording and its manipulation) and the relevance of the communication between the performer(s) and those responsible for the production (and/or recording) of a content. This work explores the dialogue between producer and performer, and indicates approaches that facilitate the alternation between the different tasks that are performed in this work environment. Finally, we suggest possibilities that help create a technical and psychological environment suitable for the recording of the best performance possible, while at the same time, we clarify some points that may help those interested in starting in these area.
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Yaman, Ntelioglou Burcu. "Drama Pedagogies, Multiliteracies and Embodied Learning: Urban Teachers and Linguistically Diverse Students Make Meaning". Thesis, 2012. http://hdl.handle.net/1807/43403.
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Drawing on theoretical work in literacy education, drama education and second language education, and taking account of poststructuralist, postcolonial, third world feminist, critical pedagogy, and intersectionality frameworks, this dissertation presents findings from an ethnography that critically examined the experiences of English language learners (ELLs) in three different drama classrooms, in three different high school contexts. More specifically, this multi-site study investigated two aspects of multiliteracies pedagogy: i) situated practice and ‘identity texts’ (Cummins et al., 2005; Cummins, 2006a) and ii) multimodality and embodied learning by overlaying, juxtaposing, or contrasting multiple voices (Britzman, 2000; Gallagher 2008; Lather 2000) of drama teachers and their students to provide a rich picture of the experiences of ELLs in drama classrooms. The diverse drama pedagogies observed in the three different drama contexts offer possibilities for a kind of cultural production proceeding from language learning through embodied meaning-making and self-expression. The situated practice of drama pedagogies provided a third space (Bhabha, 1990) for the examination of students’ own hybrid identities as well as the in-role examination of the identities of others, while moving between the fictional and the real in the drama work. The exploration of meaning-making and self-expression processes through drama, with attention to several aspects of embodied learning—from concrete, physical and kinesthetic aspects, to complex relational ones—was found to be strategic and valuable for the language and literacy learning of the English language learners. The findings from this study highlight the role of embodied forms of communication, expression and meaning-making in drama pedagogy. This embodied pedagogy is a multimodal form of self-expression since it integrates the visual, audio, sensory, tactile, spatial, performative, and aesthetic, through physical movement, gesture, facial expression, attention to pronunciation, intonation, stress, projection of voice, attention to spatial navigation, proximity between speakers in space, the use of images and written texts, the use of other props (costumes, artefacts), music and dance. The dialogic, collective, imaginative, in-between space of drama allows students to access knowledge and enrich their language and literacy education through connections to the real and the fictional, to self/others, to past and present experiences, and to dreams about imagined selves and imagined communities (Kanno & Norton, 2003).
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Crlíková, Ivana. "Adventní kalendář plný příběhů - pedagogický projekt na rozvoj předčtenářských dovedností v mateřské škole". Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-336579.
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5 Abstract The thesis is devoted to the development of before-reader's skills of preeschoolers, their ability to develop communication, listening and discussion with some methods of critical thinking. Theoretical part is focused on the development of reading and before-reader's literacy of preschoolers.It deals with a posibility to use some chosen methods of the program RWCT (Reading and Writing for Critical Thinking) at nursery school. It concentrates on the development of preschoolers in some areas important for their development of reader's literacy. In practical part there is presented the educational project of advent-calender full of stories, based on the work with texts. Based on stories it learns, if these chosen methods of the program RWCT can influence communication of preschoolers and their listening and discussion. The thesis presents results of the educational project took at the beginning and the end of my project. Key words: pre-school education, preschoolers, reader's literacy, program of reading and writing for critical thinking, methods, work with a text, communication research, listening and discussion