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LR test of nested models with count data
Mplus Discussion
Categorical Data Modeling
James W. Shaw
posted on Tuesday, June 03, 2008 - 8:11 pm
I am using CFA to compare nested one- and two-factor models for a questionnaire. Since the indicators are counts, I believe it would be appropriate to estimate loadings using Poisson or zero-inflated Poisson. I would prefer to fit the models using MLR instead of ML since the data may be heteroscedastic.
I want to perform a significance test to compare the models. Although a robust LR test can be formulated with MLR estimates when indicators are continuous, this is not possible with count indicators (see
). However, a post by Dr. Bengt Muthen suggests that the LR test can be performed using ML estimates with no Satorra adjustment to compare nested models with count indicators.
I see the following as my best options:
1. Use AIC to perform a qualitative comparison.
2. Perform an LR test using LR statistics derived with the ML (not MLR) estimator. Standard errors for loadings would be derived using the ML or MLR estimator. The latter would be inconsistent with the model LR test.
3. Treat the indicators as continuous and use the Satorra-adjusted LR test in conjunction with the MLR estimator to compare the models. This would probably be a more grievous error than treating the indicators as counts and using the ML estimator.
I would appreciate any suggestions you may have for how I should proceed.
Linda K. Muthen
posted on Wednesday, June 04, 2008 - 2:48 pm
MLR is available for a CFA with count factor indicators.
James W. Shaw
posted on Wednesday, June 04, 2008 - 4:14 pm
Dr. Muthen:
Thanks for your reply. I am sorry if I did not make myself clear.
My problem relates to the performance of model comparison tests in the context of CFA with count indicators. Chi-square difference tests are not feasible since Mplus does not report chi-square statistics when indicators are counts. (You have discussed this issue in other posts.)
I know that the MLR estimator can be used to perform CFA with count indicators. However, I do not believe that the Satorra adjustment cited in my earlier post can be used to facilitate LR model tests following MLR estimation when the indicators are counts. Specifically, I believe that the adjustment can only be used when indicators are continuous.
If I am correct in my understanding of the Satorra adjustment, then I would have to:
(1) perform the LR test (comparing 1-factor vs. 2-factor) using log-likelihoods derived with the ML estimator, OR
(2) treat the indicators as continuous and perform the estimation using MLR.
Linda K. Muthen
posted on Wednesday, June 04, 2008 - 4:36 pm
You can do difference testing using -2 times the loglikelihood difference. Scaling correction factors are given.
James W. Shaw
posted on Wednesday, June 04, 2008 - 4:50 pm
Dr. Muthen:
A discussion of the Satorra adjustment available at the Mplus website (see
), refers to "Chi-square testing for continuous non-normal outcomes." This led me to believe that I could not apply the Satorra adjustment when fitting models with MLR and count indicators.
Additionally, when I did apply the Satorra adjustment, my calculated cd was negative. Consequently, my scaled LL difference was negative. Since a negative chi-square statistic is not feasible, I presumed that the problem was due to an incompatibility of the Satorra adjustment with count indicators.
Linda K. Muthen
posted on Thursday, June 05, 2008 - 6:19 am
The web page applies to MLM, MLR, and WLM. MLM is Satorra Bentler which is for continuous outcomes. We started out with MLM so this may be confusing because we did not change the introduction. You can use difference testing for MLR with count outcomes. One problem with Satorra Bentler and difference testing is that they sometimes don't work well as in your case. Try MODEL TEST which does a Wald test.
James W. Shaw
posted on Friday, June 06, 2008 - 5:30 am
Dr. Muthen:
I have read that the one-factor model can be nested within a two-factor model by constraining the correlation between factors in the latter to equal 1.0. I would expect the constrained two-factor model to yield the same fit derived when fitting a one-factor model. Given this, I believe that a simple Wald test of
H0: r_1,2 = 1 vs. H1: r_1,2 <> 1,
where r_1,2 represents the estimated correlation between the two factors in the two-factor model, would be a test of the appropriateness of a one-factor specification, i.e.,
H0: one-factor vs. H1: two-factor.
I am able to perform the Wald test after fitting the two-factor model without any problems. I obtain a significant result, which is what I would expect.
However, when fitting a two-factor model in which r_1,2 is constrained to 1.0, I obtain different log-likelihood and AIC values from those obtained when fitting a one-factor model. Are there any parameters that need to be constrained/manipulated other than r_1,2? I receive an error message about the covariance matrix not being positive definite due to the correlation between factors being >=1.0. This could be causing the problem.
James W. Shaw
posted on Friday, June 06, 2008 - 5:31 am
Dr. Muthen:
Additionally, an alternative way to compare the 2 models would involve fitting a one-factor model in which the correlation between the indicators for the second factor is estimated and tested against 0. Unfortunately, I do not believe this is possible. Mplus does not estimate residual variances for count indicators. Thus, I do not believe one can specify correlated indicators when they are counts.
Linda K. Muthen
posted on Friday, June 06, 2008 - 8:48 am
Are you fixing the correlation to one or the covariance? If you are setting the metric of the factor by fixing the first factor loading to one which is the Mplus default, then you are fixing the covariance to one. The two-factor model should have no cross loadings. If you have further questions, please send the appropriate files and your license number to
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subset: commoncrawl


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- Web portal (access to the database): http://txm.bfm-corpus.org
- Project description and documentation : http://bfm.ens-lyon.fr
The Base de Français Médiéval database (or BFM), founded in 1989, currently comprises 124 complete Old and Middle French texts. Thanks to its volume (approximately 3 300 000 words) and the diversity of the texts included, this database is unique in France for this period of the history of French. It has been used by a research community of approximately one hundred scholars, teachers, and students worldwide.
The texts included in the BFM cover a considerable geographic area and an extensive chronological breadth, with texts from the 9th century (including the first known French text, theSerments de Strasbourg) to the end of the 15th century. Both verse and prose texts are represented, as well as different genres and domains (e.g., fiction, history, hagiography, law, the sciences…).
Since May 2012, the BFM is accessible via a new web portal powered by the TXM corpus search and analysis platform. Depending on their copyright status, texts can be searched with or without context size limitation and viewed using the web browser. Non copyrighted texts can be downloaded on demand in the form of TEI P5 XML files.
All BFM texts are tokenized and morphologically tagged with the help of TreeTagger (using BFM own parameter file). As of November 2013, morphological annotation of 19 texts has been verified and corrected by experts.
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Madsonic 5.x Musicbee Plugin
Contribution: http://musicbee.wikia.com/wiki/Subsonic_Client developed by Steven
Current release v1.0.0:
- update to Build 3800 REST API version
Madsonic Plugin (MB_MadSonic.dll)
- if you dont have a Plugins sub-folder where Musicbee is installed create one
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- you should end up with something like: c:\program files\MusicBee\Plugins\MB_MadSonic.dll
- restart MB, and in the Plugin preferences enable Madsonic
- host is your server name without the http:// at the start
- port is the server port
- path is normally the default "\"
- username
- password
- transcode stream - only tick if you need to reduce the size of the file streamed from the server because the connection is slow
- on clicking Apply, MB will validate the settings - any errors are those as returned by Madsonic
If no error is reported on setup, a Madsonic drive will appear in the computer section. Clicking the parent node will show the entire library, but you can also view playlists and folders. It will take some time to initially load the main Madsonic node the very first time (several minutes to 30 minutes for very large libraries on slow connections). It should be quick from then on
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In the main panel, MusicBee will only show the tags that Madsonic makes available which are the basic ones you need (Artist, Title, Album, Track#, Year, Genre and Duration).


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VIDEO: Key takeaways from the James Comey Senate hearing
Key takeaways from the James Comey Senate hearing Comey claims that the White House tried to "defame me" and "lied" about his firing when they said Trump was firing him for undermining the morale of the agency he had led since 2013. When it came to the FBI's investigation into Trump administration ties with Russia, Comey said he couldn't answer those question in "an open setting." He did infer that Trump inappropriately interfered in the investigation but that the president didn't ask him to drop it entirely. Comey had a friend intentionally leak memos of his conversations with Trump to the press in hopes of having a special counsel oversee the Russia investigation. Comey rebuffed Trump's assertion that he "better hope that there are no tapes of our conversations," saying "Lordy, I hope there are tapes." Trump spoke highly of Comey's ability to run the FBI. The FBI was not investigating Trump when the president fired Comey on May 9.


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Over a year ago my in-laws were gracious enough to get me a nice gift certificate to Cabela's for Christmas. So I decided to use it towards the purchase of an RCBS rock chucker supreme master reloading kit. Sounds impressive, I know.
Anyway, I bought the kit…and some additional reloading items, brought it home and it sat in my closet for about a year. Such is life. Then, about 4 months ago, I decided to start taking my gun shooting seriously and in order to do that I would need to start reloading. So, I dusted off the gear….bought a workbench for the garage to mount the press on, and dove headfirst into the Lyman Reloading Handbook.
As a computer programmer by trade, I take pride in being able to solve problems. And so at first, reading the manual felt like I was reading a completely different language. Greek would be easy compared to this: primer pockets, chamfer tools, carbide die sets, OAL's, powder charges, and flash holes were just the beginning. The basics seemed simple, but once you get into caliber specific information, a man could literally spend weeks lost in the veritable maze of permutations of casings, powders, bullets and primer options…..and that's just for a single caliber!
After a couple of days on and off of reading the steps over and over, I realized I honestly still had no clue how to put it all together in practice to make actual ammunition. So I did what any self respecting man would do in the modern age: I went and found a video of another dude on Youtube fumbling his way through reloading too!! Actually…I found a really good 4 part intro that really cleared up a lot of confusion. And so on a cold winter day I ran my first 50 handloads of 9mm through my trusty RCBS single stage press.
When they came out (believe me, it took a while) I actually took pictures of them (right). They were like little mini-children that I'd somehow spawned from a mixture of determination, ingenuity, sorta-know-how and a good dose of "I hope I don't blow myself up" thrown in for good….er….measure.
So the mini-children sat in my gun safe for about a week. I stared at them daily hoping the next weekend would be nice enough to head to The Playground and see if I came back with all limbs intact.
I think it's fair to say as a point of note here that while there certainly may be people out there who have reloaded ammunition for the first time who did NOT in any way, shape or form feel the need to take out a second life insurance policy prior to "testing" their first loads. If so, they have a set that clanks and I applaud their talents at not care much about life nor limb….or perhaps being too stupid to know otherwise. Be that as it may, I was NOT one of those people. To be quite honest, I let them sit in the safe longer than I really had to, but just wasn't sure I had the guts to actually detonate them with anything less than body armor on. And unfortunately, body armor is not cheap.
Anyway, back to the story. So I take them out The Playground within a few weeks, along with several other guns and a full can of ammo intending to do bodily harm to some steel targets. Poor targets. And I figure I might as well just go ahead and find out if I read the instructions (or as my Dad would say…the "destructions") correctly, followed the videos and overall did a good job of making my first batch of explosive devices (yes Mr. NSA…I said explosive devices).
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Returns Policy
Customers have 7 days from receiving any item to call in a return.
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Head And Neck Restraints
If You Race A Car, Wear One Of These Life-Saving Devices
If youve followed racing for the past two years, then you know what a head-and-neck restraint system is. You know why it exists and what it does to help prevent injuries to the brain.
Knowing all that, and assuming you drive a race car, own one or help make it go fast, why dont you have one of these systems or make sure your driver has one on?
A head-and-neck restraint system is just as much a part of your racing effort as tires, wheels and an engine, or at least it should be. Its all there, in black and white. Test data garnered from crash tests using instrumental dummies tell an interesting story. Boiled down, that story is either wear one or die.
That might seem a bit dramatic, but its the truth. The majority of head-and-neck injuries in racing are caused by the neck trying to do its job and failing against the massive force exerted on drivers by impacts with walls or other cars.
Following the death of Dale Earnhardt at Daytona in 2001, there was a massive investigation into the circumstances of the crash. In the course of that investigation, the investigators determined that the change in velocityotherwise known as the Delta Vgenerated in that fatal crash was 42 mph. Delta V is not about how fast youre going on the track. Its about how fast you hit the wall and how fast you come off it.
If Earnhardts Delta V was 42 mph, then how difficult is it to imagine that the Street Stock or Late Model you drive can generate that kind of force? If youre traveling 50 or 60 mph, hit a parked car or something and stop, thats more than enough force to generate a head or neck injury. You dont have to be racing at Daytona or Talladega to generate this kind of impact.
Trevor Ashline, whose rsum lists Swedish restraint-system manufacturer Autoliv in addition to BSR, is the inventor of the Hutchens Device. It is one of two devices mandated by NASCAR and other sanctioning bodies for its drivers. His advice to racers of all stripes, budgets and abilities is: wear it.
Theres no reason not to, especially a harness device like this one, he says. There are no negatives.
How much are you worth? For the cost of a quality racing suit, you can outfit yourself with something that will give you a chance to survive a heavy impact. The Hutchens Device in its current form costs $300-$325, depending on the bottom-end hardware for the buckle system. Ashline recently debuted an alternate version of the original, and its cost is $400. The difference in the two is that the new unit does not buckle into your safety harness. It uses your bodys own structure to keep your head in place and out of lethal range.
Once you put it on, you can hook the helmet to it outside the car, Ashline says. When you get in the car, you just pull it snug. When you sit down, the points change. Youre using body kinematics (motion) to tighten the belts up. This one (the new unit) has a rebound strap on it, where it will try to catch your head going back. Ive equaled the best numbers Ive ever gotten on the original Hutchens. The original hooks to the belts as its anchor; the new one uses your pelvis as its anchor.
What youll get upon purchasing either one is: the harness, leg straps, two upper tethers and the hooks for the helmet, along with the screws for the helmet.
The HANS Device ranges in price from $1,275 to $2,000, depending on the type of racing you do.
Neck Collars
OK, the price tag is a little steep for some of the more budget-conscious racers out there. Why not just pass on the Hutchens and go with a neck collar?
Neck collars dont do it, Ashline states. The people who thought that worked believed that the head just rotates down, and it doesnt in a crash. The head first translates forward. Your upper torso belts hold you back, and your head goes straight forward until your neck tries to pull it down. You get full extension, you load the belts all the way and youre (neck is) out here like this (three or four inches), then your neck starts to pull you down and it misses the collar altogether. Youll never hit the collar.
Does the collar work with a Hutchens device? Ashline continues. Yes, because you have the collar in close to your neck. The Hutchens Device is limiting the stretch of your neck, and its going to force your head down. That will help you because the rotation of your head as it is pulled down gets you into the collar. I dont disagree with using a neck collar with a Hutchens Device. If you do not use a Hutchens or a HANS, youre playing with fire. Your neck cant hold the forces of the weight of your head, trying to take it off the top of your shoulders.
Load Limiting
The Hutchens Device and the higher-dollar HANS both act on the same principle: They limit the loading on the weakest joint in the human body in terms of impact. Your neck is very strong when its holding your head up under normal gravity. When impact forces of 800 to 1,500 pounds (1 Newton = 0.2248 pound of force) are at play, its a weak collection of bones held together with discs and ligaments. Dont be misled by the fact your Street Stock only reaches 80 mph. Forces generated from an impact at that speed can kill you just as dead as impacts at 160 mph.
Load limiting is the key, Ashline says. Restrain the occupant early, limit the load the occupant sees and then ride them out. Thats the key. You dont want them to spike. The spike comes when you restrain late and everything hits quickly. If you restrain early, you can take that force out, and if you use some kind of load-limiting device, like the Hutchens Device ... it comes in early. Because it does, you never really get the high (load) numbers. It brings you up, over and down, and thats what you want to see.
The first thing you want to do is to have your pelvis locked down in the seat.
In the first 20 milliseconds, youll start loading up the belts as the occupant moves forward, Ashline explains. As that forward movement starts, the occupant tightens the belts. The biggest thing you want to do in any type of crash is to lock down the pelvis and reduce the amount of movement there early. Then its easier to control the chest and the head. Center of mass is your pelvis, and it can handle a lot more g-forces than the rest of you can. When you lock the pelvis down, you have this load on your lap belt thats 2,500-3,000 pounds. That provides a really good anchor for the (original) Hutchens device.
He continues, The straps that go up the back are very heavy material with low elongation. As your head starts to go straight forward, it tightens up the straps. The upper torso starts moving because your pelvis is locked in and rotates into the upper belts. It limits the amount of movement your head is going to see. The device comes into the lap belt, and the lap belt is under so much load there is no way the harness is going to move it. The helmet straps limit the whipping motion of the head.
Lab Tested
Ashline, as an engineer, recommends that whatever you decide you need for a head-and-neck restraint, make sure the product has been tested under laboratory conditions.
You learn how to watch the kinematics, learn where the loads are going, in a laboratory/crash sled setting, he explains. The only way you get to do that is to run your own sled tests. The (safety) guys who are out there who arent doing sled testing have no idea what theyre doing. You can sit there all day long and say, my thing is the best in the world. You put that on a sled test and that will tell you. Thats the only way you can do it, in a laboratory setting where you can study the motion and see how your system interacts with the rest of the systems in the cockpit. If youre not doing that, dont go there, dont buy it, dont even think its going to be right.
As for the HANS, developed by sports-car racer Jim Downing, it does its job well, according to Ashline. The end result stays the same, and thats good, Ashline says. The HANS is a good product, it works well. Ive done a lot of testing on it. They are just going a different way than I am.
While this article is focused on head-and-neck restraints, theres more to this than just going out to buy a Hutchens Device or a HANS Device. All systems in the cockpitbelts, restraints, steering column, seat, padding, etc.work together, and if they are working in concert, the result is a better opportunity to survive a crash.
Seat Belts and Head Padding
One piece of advice Ashline gave that applies across the scope of racing is on seat-belts. The seatbelt and the seat are the number-one things you can do to be safe, he says. Mount your belts correctly. If you can get good geometry on your seatbelts, you are so far down the road into a good restraint system its not funny. Seatbelt manufacturers supply mounting instructionsuse them.
Padding around your seats head restraints is important too. Ashlines advice is to go with thicker, more impact-absorbing padding there. Formula One, the IRL and CART require three inches of energy absorption padding around their headrests, Ashline says. It doesnt give you a big spring-back. You want something that rides you down and is strain-rate dependentwhich means that the faster you ride into it, the more energy it will absorb. Were working with urethane foam right now, which is harder than other types of foams and gels. The visco-elastic foams and gels are temperature-dependent, so when it gets cold or hot, they do too. The gels are heavy, too. You need a minimum of three inches.
The idea for this story is to get you, the racer, to think in terms of safety in ways that are outside the old standby. If you drive a racing car, whether it be a full-on Late Model or a Hobby Stock, you need one of these devices, just like you need a helmet, firesuit and gloves. It is not a question of whether you can afford one. The question is rather, can you afford not to have one?


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Dancing between the artists who sculpt models for CGI films and the animators who create the characters' performances is a group of specialists called riggers. Their work is invisible, but without it, "Toy Story 3's" Buzz and Woody, and "How to Train Your Dragon's" Hiccup and Toothless would be statues, incapable of conveying the emotion that makes them come alive onscreen.
Although you could think of rigging like the process of attaching digital puppet strings to a cartoon's various characters, the reality is a lot more complicated than that.
"My office looks like a doctor's office," jokes Jeff Light, co-supervisor of character technical directors (with Nathan Loofbourrow) for DreamWorks Animation's "Dragon." "I have an anatomy class skeleton and charts on the wall for muscle systems. We have to make sure the animators have the bones and muscle and skin and fat set up in a system, so they can slide a dial or turn a knob or click a button and move them."
Animators use the rigs to create dimples in a character's cheek, the wink of an eye, the turn of a lip. A rig can make a bicep bulge when an animator closes a bully's fist, or help a dragon fly.
"In a nutshell, rigging gives you control," says Bobby Podesta, supervising animator for Disney/Pixar's "Toy Story 3." "Some people call the controls muscles. Some call them rigs. They can be as simple as one or two controls, or thousands of controls."
The latter is far more common today.
"We had 200 controls for Woody's mouth," Podesta says. "In the old days, we might have had a couple dozen."
Early versions of Buzz and the other legacy "Toy Story" cast were created with fewer controls. But even though Pixar's riggers updated these characters to a 21st-century system for the third film, animators still had to respect the integrity of the familiar 1995 models.
"Just because Buzz could do a lot more, it didn't mean he should," Podesta says. "It was an odd challenge. We had Tom Hanks, Tim Allen and Joan Cusack back, and they know these characters, so we had half the battle won. But for animators who had not animated the characters before, it was like stepping into a role that an actor on Broadway had established. We could do more subtle acting and emotion, but we had to make the characters part of the world we all knew."
For their part, riggers working on "Dragon" had the extra challenge of creating complex systems for a variety of imaginary flying creatures. "If you look at the wings, and all the ways you might want to control them in every circumstance, you could easily have over 2,000 controls on a dragon," Light says. "Our head of animation, Simon Otto, made a wing-flap cycle we put into the rig with intensity sliders the animators could use to tone it down or give it maximum amplitude. But for a hero performance, animators don't use automated cycles."
Adding to the difficulty was the fact that each breed of dragon behaves differently: Zipplebacks have two heads, another has an extra set of wings, and the hero dragon Toothless wears a harness. "Toothless was the most complicated dragon," Light says. "He had to be expressive. We rigged his teeth so they could stick out or recede. His eyes had to look charming. His harness had a rope that goes through the wings, it connects to Hiccup, and it all has to interlock. It was an amazing feat. But when I see them flying and see Astrid reaching up through the clouds, it was all worth it."
Toons get animated start | Annie voters see light of 'Day' | Characters rigged to tell emotional tale | Toon shorts offer innovative views


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Originally published March 7, 2010
One of Canadas largest home improvement retailers, Home Hardware Stores Limited has more than 1,000 independent stores offering more than 100,000 products for homes and gardens. As the company grows, it needs to enhance and automate its supply chain management through technology improvements. Home Hardwares IT group turned to Pervasive to supply the integration flexibility to convert data from multiple legacy supply chain applications into one centralized system that will improve inventory and overall business efficiencies.
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The National Endowment for the Humanities (NEH) today announced the awarding of 363 NEH grants totaling $21.6 million. The grants -- the first of three rounds of awards that will take place in fiscal year 2002 -- will support research by college and university professors, curriculum development programs at colleges and universities, humanities programs at museums and libraries, and public television and radio programs.
"NEH has a crucial role to play in generating new knowledge and communicating it broadly," said NEH acting chairman James Herbert. "I am delighted to announce the latest NEH grants for the advancement of the humanities in both the academic and the public arenas."
For this fiscal year (2002), there are 171 fellowships to support the research of individual scholars and 26 challenge grants for long-term institutional development of humanities programs.
Challenge grants, which institutions must match by 3 or 4 to 1, can be used to renovate buildings where educational programs take place or collections are displayed or to endow curatorial positions, humanities programs or acquisition of books or artifacts.
Programs and number of projects funded this round are:
Challenge and matching grants (34): $13,881,000
(Awarded to universities, colleges, public libraries, research centers, museums, other nonprofit institutions.)
Research fellowships to individual scholars (171): $6,456,000
Extending the Reach (21): $531,000
- institutions of higher education (21): $531,000
Preservation and access (7): $349,000
- online state encyclopedias (7) $349,000
Public programs (130): $344,000
- consultation grants for museum, film and radio programs (30) $294,000
- library programs commemorating the Steinbeck centenary (100) $50,000
A state-by-state listing of grants is available as an Adobe PDF file. NEH grants are awarded on a competitive basis. Throughout the year, humanities experts outside of the Endowment read all applications and advise NEH on the quality and significance of each proposed project.


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I create new campaign yesterday and I've wait many hours for my campaign.
After my campaign active I want to add new country target, but I cant see any tools to use.
Finally I create new campaign and delete old campaign (link target still same), but my campaign status is back again to "Review"
I've contact via "Contact Us" page but no one staff reply my ticket untill right now.
Why Linkbucks support renspond superrr very slow ? how much staff in this network ? even though it is no more than 4 minutes after my campaign active - contact via ticket.


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Proficiat Postaliosa! If Harry Potter commemorative stamps can cast a solvency spell on the U.S. Postal Service, that's some magic we can get behind. Tradition-bound philatelists should back off from their complaints.
The stamps, depicting scenes from the movies based on J.K. Rowling's books, went on sale in late November despite vehement opposition from some serious stamp collectors, who objected that they were both un-American and crassly commercial. Michael Baadke, the editor of Linn's Stamp News, summarized the collectors' arguments when he wrote that Harry Potter postage was "dismissing significant established U.S. stamp traditions without explanation."
"These U.S. stamps picture living actors from other countries, something that is unprecedented," according to Baadke. "The films the stamps honor have little to do with American culture."
The classicists say that the post office is placing quick profits above tradition, which has typically, though not always, called for stamps to feature the nation's government and cultural leaders, or events in U.S. history such as the first flight or statehood anniversaries.
Indeed, the Potter stamps combined all the ingredients guaranteed to upset traditionalists — commercial, photographic rather than artistic, and foreign to boot. Postal Service officials didn't even consult the Citizens' Stamp Advisory Committee — a panel formed more than 50 years ago to recommend stamp subjects that have culturally enduring value — probably in the full knowledge that they were writing a new installment of mail history that might best be titled "Harry Potter and the Philatelic Furor."
But the truth is that when it comes to American stamps, the definition of American culture has expanded dramatically in recent years to include muscle cars and Disney and "Simpsons" characters. In 2007, the intergalactic characters of "Star Wars" were emblazoned on a set of stamps.
Certainly, the new Harry Potter stamps are no more commercial than the Pixar movie commemoratives and no less American than the Beatles stamp of 1999 or the endangered species series of 1992, which included a panda, a giraffe and a Bengal tiger. And even in the dignified days of stiffly posed stamp portraits that looked as though they came straight from U.S. currency, Italian poet Dante Alighieri, who wrote "The Divine Comedy" during the Middle Ages, was honored with a stamp in 1965. In retrospect, traditionalists might see that as the first sign that the U.S. Postal Service was heading toward hell.
The goal of the Postal Service is clear: It hopes to conjure up some cash, to disapparate some of its red ink. In this era of its financial independence from government, that's a necessity, and there are worse ways to accomplish it than with a popular boy wizard, even one who isn't American.


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One-Eyed Cat: Northern European (Germanic, Celtic and Slavic) Paganism
This is the magic of Freyja and I am her völva: a seer, priestess and oracle.
Sharing wisdom taught by the Norse Gods over twenty years of practice, I teach safer seiðr / seidhr (Norse trance work and fate-magic), reverent animism, and deeper workings with the Gods and land spirits through respect for all life and peoples. We'll also explore the wider Eurasian influences on central and northern European religion, including Norse, Slavic, Celtic, Baltic, Siberian, Mediterranean and ancient Indo-European beliefs and discuss how to apply them to contemporary practice.
Hello and welcome!
I love the Norse Gods, and I love stories. Whether you think they are people or think they are characters in stories, I'd like to share that sense of wonder with you, exploring the thorny places where beauty and brutality interweave to speak eloquently about the human condition in all its flaws and grandeur.
As an artist and writer, my work is steeped in mythology and ancient literature which I find surprisingly relevant to modern life. Human nature does not change much, but the way we explain it— through stories and the shifting values of our cultures— does.
Like the Gods I worship, I travel frequently. It's made me keenly aware of how similar people are beneath the surface differences, wherever (or whenever) you go. It's also shown me how much we influence one another, through our ideas and relationships, and of the value of face-to-face relationships and community during a time in which both our wilderness and connection to other life is rapidly eroding.
Whether you are Heathen or not, religious or not, I hope this blog provides food for thought and turns the looking glass to a slightly different angle for you, releasing wonders.
Monday, 01 July 2013
I don't know if this is of interest to you, but there's a Freyr spouse proposing a month for Him: http://shannonkotono.wordpress.com/2013/07/01/a-month-for-freyr/
I would love to see the type of writing you'd do for Him.
Monday, 01 July 2013
It's an intriguing way to raise awareness for a deity, and a lovely thought. Thank you for the compliment about my writing. He (and other deities) figure into a lot of my creativity already, Heather.
There is a poem here you might enjoy:
A Prayer to Ingvi (http://www.odins-gift.com/poth/recent/aprayertoingvi.htm)
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Gusty winds and blowing dust could cause problems for people with health issues
Taft is under a wind advisory from 5 p.m. Tuesday to 2 a.m. Wednesday and air pollution officials warn that dust stirred up by the gusty winds could cause or exacerbate health problems, especially for people with underlying health issues
The National Weather Service said Taft can expect winds blowing at 15-25 miles per hour from the west-southwest with gusts up to 30 miles per hour.
That's enough to kick up dust and cause visibility problems for people driving on area roads.
There could be even strong winds on the west side of the valley to the north.
The good news is the winds mark a change in the weather patterns after two days with 100-degree plus weather.
Monday's high in Taft was 107, the thermometer climbed to 102 degrees by midafternoon.
Wednesday's high is expected to be around 96 and the rest of the week should see afternoon highs around 93 with lows in the mid to upper 60s.
The wind advisory prompted the San Joaquin Valley Air Pollution Control District to issue the following statement just after 3 p.m.:
Blowing dust as a result of developing gusty winds has prompted local air pollution officials to issue a health cautionary statement this afternoon through the early hours of Wednesday morning in the following areas of the air basin: the western portions of San Joaquin, Stanislaus, Merced, Madera, Fresno and Kings Counties, and the entire Valley portion of Kern County.
Winds may produce areas of localized blowing dust, which can result in unhealthy concentrations of particulate matter 10 microns and smaller (PM10). Exposure to particulate pollution can cause serious health problems, aggravate lung disease, trigger asthma attacks and bronchitis, and increase risk of respiratory infections.
Where conditions warrant, people with heart or lung disease should follow their doctors' advice for dealing with episodes of particulate exposure. Additionally, older adults and children should avoid prolonged exposure or heavy exertion, depending on their local conditions.
For more information, visit www.valleyair.org or callthe District office in Bakersfield (661-392-5500).


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These have finally shown up - at $17.99 each. That's just plain absurd, especially for 2 repacks of considerably easy-to-get figures.
How 'bout some East Coast love, fellas?
Quote from: McMetal on August 13, 2010, 09:00 AMHow 'bout some East Coast love, fellas?The East Coast is too close to Canada so they are treated the same.
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text: Music Education https://hdl.handle.net/2123/1162 2020-06-06T09:11:18Z 2020-06-06T09:11:18Z "Thrown in the deep end": Informal learning in a primary music classroom Benson, Flora https://hdl.handle.net/2123/8857 2013-01-07T15:52:53Z 2012-01-01T00:00:00Z "Thrown in the deep end": Informal learning in a primary music classroom Benson, Flora In recent years an increasing number of music educators have drawn attention to the dichotomy between in- and out-of-school learning, and studies exploring the range of informal learning outside schools and institutions have resulted in the identification of implications for classroom teaching practice. Green's Informal Learning approach aims to foster student agency by immersing secondary school learners in the informal practices of popular musicians. Conducted as an ethnographic case study, this project explored the implementation of Green's Informal Learning approach in a primary school in the South- West of Sydney. Thirty children aged 10 to 12 years took part in ten researcher-led music lessons which were based on Green's five Informal Learning principles and data were collected through researcher observation, focus group interviews and audio-visual recordings of student activities whilst engaged in the project. Children responded to the pedagogy's inherent learner agency in an enthusiastic manner and all friendship groups were observed to be positively engaged in a range of meaningful music making activities. The data revealed that pedagogy of this nature provides teachers with an opportunity to "connect the contexts" between children's music learning at home and at school. The results of this study support the need for teacher reconsideration of the place of informal learning approaches in primary school music. 2012-01-01T00:00:00Z Musical collaboration in the primary classroom: Empowering generalist teachers to foster children's meaningful music-making Gresser, Elizabeth Rose https://hdl.handle.net/2123/8856 2013-01-07T15:52:52Z 2012-01-01T00:00:00Z Musical collaboration in the primary classroom: Empowering generalist teachers to foster children's meaningful music-making Gresser, Elizabeth Rose This two-phased action research project investigates the effects of generalist-specialist teacher collaboration in a Sydney primary school in response to concerns raised in the National Review of School Music Education (2005). The researcher supported and resourced two teachers to teach music to their Stage 2 classes during two terms of 2012. Teacher and student behaviour was observed, to examine the effects of collaboration on the confidence and preparedness of classroom teachers and the musical experiences of students. The findings discuss visible changes in the autonomy and agency of teacher participants, in relation to resource development and sequencing of music lessons. This form of professional development was beneficial in assisting with resourcing, reporting and communicating, indicating the future possibility of further collaborative teaching in this field. Considerations including those of sustainability, teacher identity, interpretation and definitions of 'meaningful music-making' are discussed in the future recommendations for music teaching in Australia. 2012-01-01T00:00:00Z Informal Learning and teacher education students: Changing perceptions towards and educational paradigm shift Nehl, Tanya https://hdl.handle.net/2123/7763 2012-05-01T17:27:04Z 2011-09-06T00:00:00Z Informal Learning and teacher education students: Changing perceptions towards and educational paradigm shift Nehl, Tanya This qualitative study is aimed at investigating the effects of teacher education students' introduction to Informal Learning in a conservatoire setting, their perceptions of their preparation and willingness to use it in their career as music teachers, and their changing attitudes during training relating to this approach. The research compared the aims of the Musical Futures program (Musical Futures, n.d.), university lecturers and relevant professionals with students' perspectives after immersion in a new pedagogy. This study, conducted in order to discover more about Informal Learning pedagogy at a tertiary level, revealed the varying effects of, as well as responses and attitudes towards Informal Learning from students studying music education at Sydney Conservatorium of Music. It demonstrates the issues arising from introducing an approach to teacher education students that challenges conventional conceptions of the classroom. It also shows the effects that students' practicum school context, personal experience, teaching style and personal values have on their reception of, engagement with and future use of the approach. 2011-09-06T00:00:00Z Music-Based Language Learning in Remote Australian Indigenous Schools Cotton, Hugh https://hdl.handle.net/2123/7762 2012-05-02T16:53:24Z 2011-09-06T00:00:00Z Music-Based Language Learning in Remote Australian Indigenous Schools Cotton, Hugh In response to the disproportionately low educational outcomes of students in remote Indigenous schools, this study examined the potential for musical activities to provide a platform for the learning of Standard Australian English (SAE) in these contexts. The study also investigated ways in which the same or similar approaches may contribute to the maintenance and revival of Australian Indigenous languages. Conducted as a qualitative multi-case study, this research analysed interview data collected from nine participants, including classroom teachers, ethnomusicologists and music educators, each with relevant professional experience and knowledge. Findings demonstrated the capacity of music-based learning to facilitate meaningful immersion in both SAE and Indigenous languages, and to interface with Indigenous pedagogies and perspectives. Music-based approaches were seen to promote engagement in language learning through experiences that students perceived as valuable and purposeful. Equally, music-based learning provided students with a sense of ownership over learning and opportunities for personal and cultural validation. In addition, the findings identified several factors that often place limitations on remote schools' capacity to facilitate music-based learning. The need to develop local capacity in remote Indigenous communities was recognised as vital in order to provide students with an education that is both holistic and sustainable. 2011-09-06T00:00:00Z "Into the Woods": The Experiences and Preparation of Teachers Who Direct Secondary School Musical Theatre Howard, Patrick https://hdl.handle.net/2123/7747 2012-05-01T17:27:06Z 2011-08-19T00:00:00Z "Into the Woods": The Experiences and Preparation of Teachers Who Direct Secondary School Musical Theatre Howard, Patrick This study examines the personal investment of four NSW Independent secondary school music and drama teachers who direct musical theatre productions. It considers these teachers' attitudes and beliefs regarding the social and educational value of such productions, and the manner in which these productions exist within the schools that produce them. Through semi-structured interviews with these four teachers, this study outlines their experiences in producing and directing these musical theatre productions and their preparation for such involvement. By examining the relationship between the preparation and experiences of these teachers in relation to their beliefs and opinions regarding available training, this study also considers the implications of this data in regard to music education degrees. 2011-08-19T00:00:00Z The impact of music therapy on the social behaviours of children with autism in a structured outdoor inclusive setting Caltabiano, Amanda https://hdl.handle.net/2123/6442 2012-05-01T17:27:03Z 2010-09-02T00:00:00Z The impact of music therapy on the social behaviours of children with autism in a structured outdoor inclusive setting Caltabiano, Amanda The aim of this study was to examine the impact of music therapy (MT) on the development of three specific social skills – joint attention, imitation and turn-taking – in children with autism (N = 4). The development and acquisition of the above social behaviours were examined in a structured outdoor inclusive setting, and results of this study revealed that MT intervention facilitated the inclusive experience for children with autism and resulted in an increase of social behaviours. The data were collected over seven weeks at the Grace Music Therapy Centre and Griffith Park Public School. The four participating autistic boys all attended the same school where they regularly participated in MT each week. The music therapists and the special education teacher that were involved in the study were interviewed about their attitudes and impressions of MT and its effects on children with autism. By utilising a mixed methodology (i.e., observations of the students social behaviours in both settings, video recordings and rating scales that were applicable to the context of the study), data were collected and analysed. Other observable factors such as peer initiating, questioning, prompting, modelling and proximity were examined and fell into two broad categories of teacher-mediated and peer-mediated approaches. Results revealed that the above factors facilitated the development and acquisition of the three specific social skills. The strength of both approaches provided students a learning environment that allowed for the fostering of their social skills. 2010-09-02T00:00:00Z The implementation of Music Life Skills in Schools for Specific Purposes Ashton, Sarah https://hdl.handle.net/2123/6387 2012-05-01T17:27:02Z 2010-07-30T00:00:00Z The implementation of Music Life Skills in Schools for Specific Purposes Ashton, Sarah This mixed methods study explores the implementation of Music Life Skills in Schools for Specific Purposes (SSPs) in New South Wales, focusing on the perceptions of educators and their programming methods, in order to determine the suitability of this program for students with intellectual disabilities and/or developmental disorders. Case studies of two schools were conducted. Participants were students with special needs and their classroom teacher. In these settings, data were collected through semi-structured interviews with teachers and observations of music lessons. Additional questionnaire data were collected from educators at a selection of SSPs. Data were analysed through open and axial coding. Three common themes emerged from the data: experience and perceptions of educators; programming and teaching strategies; and student responsiveness. The findings of this study contribute to the limited body of research in regard to Music Life Skills and programs available for students with disabilities in Australia. Recommendations are made for further study, including implementation of Music Life Skills in other contexts, such as the inclusive setting. 2010-07-30T00:00:00Z Australian perspectives on Indigenous music education Murphy-Haste, Phillippa https://hdl.handle.net/2123/5902 2010-02-20T11:34:58Z 2010-02-19T05:36:57Z Australian perspectives on Indigenous music education Murphy-Haste, Phillippa This study examined the contextual and philosophical pretexts underpinning the learning and teaching of music indigenous to Aboriginal, Torres Strait Islander and Papua New Guinean peoples through the eyes of six Australian participants. The personal nature of responses and unique cases posed by each participant were examined through a qualitative multi-case study. Six Australian teachers having worked or working within the fields of Indigenous music education and Indigenous education were interviewed. The findings reveal several motivations for the learning and teaching of Indigenous music and education including the desire to provide a diverse and significant education for all students, particularly Indigenous students, as well as political motivations geared toward attitudinal change. The importance of culture bearers as examples of living practitioners of Indigenous musics was recognised. Culture bearers were also integral to fieldwork practices and were placed in positions of authority within classroom teaching. Challenges identified included cultural sensitivities and protocols, teachers' positions as 'outsiders' of Indigenous cultural traditions, resource production and access to culture bearers. A three-part framework incorporating Indigenous content, processes and perspectives is suggested for classroom practice. 2010-02-19T05:36:57Z Primary school band programs: Attitudes of students, parents and music staff Luu, Lemin https://hdl.handle.net/2123/5832 2012-05-01T17:27:01Z 2010-01-28T05:33:49Z Primary school band programs: Attitudes of students, parents and music staff Luu, Lemin This study aimed to discover how primary school band programs are organised and for what reasons these instrumental ensembles are constructed as extra-curricular, curricular, or co-curricular activities. It explores what motivates students to participate in the school band, parents to enrol their students in the school band program and the pedagogical rationales of band program stakeholders, being parents and school music staff. It also explores the relationship between these perceptions of the role and value of band, and the pedagogical rationale that forms the structure of the band program. This thesis took the form of a multiple case research project where data was collected from two government primary schools in Northern Sydney. Surveys and interviews were used to investigate the differing perceptions of the role and value of the school band program and how these affect the level of integration the band has with classroom music. A case study of the extra-curricular band program in one of the participating schools is the focus of this thesis. In addition, this research project looks at the educational implications of extra-curricular band programs, prompting research into the primary school band system. 2010-01-28T05:33:49Z Karen indigenous music and dance learning in an Australian non-formal context: A case study in maintenance and transmission Htoo, Peter Saw https://hdl.handle.net/2123/5820 2012-05-01T17:27:01Z 2010-01-21T03:25:50Z Karen indigenous music and dance learning in an Australian non-formal context: A case study in maintenance and transmission Htoo, Peter Saw This study examines the viability of transmission and maintenance of Karen indigenous music and dance in an Australian non-formal context. Qualitative in design, the research comprised an ethnographic case study of an indigenous music and dance transmission situation (a series of five music and dance workshops) implemented in a non-formal community context in Western Sydney. Participants were a Karen cultural expert in music and dance, four Karen teacher participants and 14 Karen youth student participants. The researcher, as performance participant and participant observer, collected the data through field observation and video recording of the workshops, as well as semi-structured interviews that were conducted with the cultural expert, teacher participants, and the student participants. The first of its kind among the Karen community in Australia, the study explored the viability and means of transmission and maintenance of Karen indigenous music and dance through the involvement of Karen culture bearers and Karen youth. The study explored the views of the cultural expert and the various other culture bearers on Karen music and dance teaching and learning processes, as well as the motivation and learning styles of its student participants. Based on understandings of transmission processes operating in Burma and in the Thai-Burma border refugee camps that emerged during the study, the research revealed the need for evolving modified transmission processes for the diasporic context. The study raised many questions and highlighted culturally sensitive issues, ultimately indicating that the symbolic significance of the project as an initiative outweighed the pedagogical outcomes of the actual workshops. 2010-01-21T03:25:50Z The change in parental involvement in boys' instrumental practice Lau, Rachel https://hdl.handle.net/2123/5786 2012-05-01T17:27:04Z 2009-12-22T05:21:51Z The change in parental involvement in boys' instrumental practice Lau, Rachel This study examines the nature and influences of the change in parental involvement in boys' instrumental practice within a single school context. Questionnaire data was collected from the parents of male students in Years 3, 5, 7, and 9. Three types of parental involvement were found: instruction, verbal encouragement and monitoring. A statistically significant decline was found in the average reported use of instruction and average reported levels of child cooperation to reminders. Parental involvement was found to be significantly related with perceived parental responsibility and child response to involvement. Follow-up interviews were conducted with three mother–son dyads as case studies of high, medium and low levels of parental involvement in Year 9 boys. Interview findings explored the dynamics of mother and son interactions in music practice. Common themes emerged among the high and medium level case studies in regard to perceptions of parental responsibility, preferred methods of involvement, and reasons behind involvement. This study opens new avenues for further research into the parental involvement of adolescents' music practice. 2009-12-22T05:21:51Z Childhood to teacher: Pre-service educators' formative musical experiences and their decision to become a classroom music teacher Anderson, Dominique https://hdl.handle.net/2123/5785 2009-12-19T11:34:25Z 2009-12-19T06:31:19Z Childhood to teacher: Pre-service educators' formative musical experiences and their decision to become a classroom music teacher Anderson, Dominique This study explores the relationships between formative musical experiences, narrative constructions of music teacher identity and the influence of these identity constructions on the decision to become a classroom music teacher among a group of pre-service music educators. Case studies of 15 participants were conducted. Participants were from the Bachelor of Music (Music Education) degree program at the Sydney Conservatorium of Music, The University of Sydney. Data were collected through individual semi-structured interviews with the participants. The study explored the musical, schooling and cultural backgrounds of these pre-service music educators. Data were analysed through open coding and narrative analysis. Narrative responses to questions about formative musical experiences, their relationship to music teacher identity construction and how these relate to the decision to become a classroom music teacher, encoded five key frames. These are: individual cultural background; memories of patterns of pedagogy; impressions of music teachers; the cultural and educational status of music; and music's importance within family and social life. The findings of this study contribute to the growing body of research and literature in this field and generate a number of avenues for future research. 2009-12-19T06:31:19Z Australian jazz musician-educators: An exploration of experts' approaches to teaching jazz Chessher, Andrew https://hdl.handle.net/2123/5781 2009-12-19T22:28:20Z 2009-12-11T00:12:24Z Australian jazz musician-educators: An exploration of experts' approaches to teaching jazz Chessher, Andrew This qualitative study explores the approaches of expert jazz musicians actively involved in teaching, or jazz musician-educators, towards teaching jazz. The participants were six jazz musician-educators, whose experiences cover a wide range of musical styles and educational settings including classroom teaching, big bands, small ensembles, improvisation classes and workshops for Musica Viva in Schools. Semi-structured interviews were used to investigate how each participant taught jazz and jazz improvisation within their individual scenarios. A range of approaches was used for teaching improvisation, with participants focussing on simplicity and student confidence. A number of issues emerged as important to the jazz musician-educators, including the role of listening, style, and the emphases of big and small ensembles. They also felt that the study of jazz helped students' confidence in playing and making music. Recommendations are made for further study, particularly regarding how these expert approaches might be adapted for general music classrooms, where teachers are often not as confident in using jazz as they are with other music styles. 2009-12-11T00:12:24Z Music in the lives of Deaf students in an Australian school Abotomey, Keva https://hdl.handle.net/2123/4002 2009-01-07T21:35:36Z 2009-01-05T00:15:16Z Music in the lives of Deaf students in an Australian school Abotomey, Keva This qualitative case study explores the ways in which Deaf students involve themselves with music, in a variety of contexts and from multiple perspectives, including the students' own perspective. A Sydney school offering a music programme for Deaf students was selected as the case and was investigated through a questionnaire, interviews, observations and document collection. The students were found to engage in music primarily through performing as part of the school music programme in the areas of sign singing, moving to music, playing instruments and vocalising. The students' involvement with music in the home and community through informal musical activities was often as a result of similar experiences in their music classes, and enabled them to challenge the stereotypes held by their family members and the community. The students' musical preferences revealed a predominantly visual and kinaesthetic understanding of music, and a focus on the repertoire taught through the school music programme. The students' enjoyment of music was not necessarily determined by their level of hearing, but more often by their definition of listening. The results of this study suggest that music does have a place within Deaf culture. 2009-01-05T00:15:16Z Why choose music? A study in parental motivation toward formal music learning and the cultural beliefs regarding its benefits. Paterson, Jessica https://hdl.handle.net/2123/3995 2008-12-18T13:13:26Z 2008-12-18T05:44:50Z Why choose music? A study in parental motivation toward formal music learning and the cultural beliefs regarding its benefits. Paterson, Jessica The purpose of this study was to examine the motivations of parents when choosing to engage their children in formal music learning, whilst exploring the cultural beliefs regarding its benefits. The study was conducted in two phases, including questionnaire distribution and a case study, involving the analysis of both numerical and verbal data. The results present four themes that emerged throughout the data collection process. These include parental opinions regarding music and academic ability, being a good parent (including aspects of opportunity and parental musical experience), the importance of a child's right to choose their own experiences, and the influence of a love of music. The results are indicative of a particular sample only, and there are numerous implications for future research. Results contribute to the growing literature regarding parental motivation toward formal music learning, and the importance of the role of the parent in a child's musical experience. 2008-12-18T05:44:50Z "Just sitting there learning": Case studies in NSW secondary school music and musical participation Bell, Madeleine https://hdl.handle.net/2123/3994 2008-12-18T13:13:25Z 2008-12-18T05:22:35Z "Just sitting there learning": Case studies in NSW secondary school music and musical participation Bell, Madeleine This study explores the relationships between school musical culture, adolescent musical preference and music teaching strategies in secondary school, in order to determine the extent to which these are factors influencing students' decisions to continue their musical participation, both in and outside of school. Case studies of two New South Wales high schools were conducted. Participants were junior secondary music students and their teachers from each of the selected schools. Data were collected through semi-structured interviews with students and teachers, and observations of music lessons and activities. The study explored the perspectives, opinions and attitudes of participants in the chosen research settings. Data were analysed through open and axial coding. It was established that the factors that provided the focus of this research project – school musical culture, musical preferences and music teaching strategies – have a significant impact on the ways in which students perceive music both in and outside of school. These perceptions then influence their decisions to continue musical participation. The findings of this study contribute to the growing body of research and literature in this field and generate a number of avenues for future research. 2008-12-18T05:22:35Z Love it, love it not: Parental attitudes regarding children's music learning in Kuala Lumpur Leong, Kah Yan Grace https://hdl.handle.net/2123/3993 2012-05-01T17:27:05Z 2008-12-18T05:18:12Z Love it, love it not: Parental attitudes regarding children's music learning in Kuala Lumpur Leong, Kah Yan Grace This study aimed to investigate parental beliefs regarding children's music learning in Kuala Lumpur. It examined the reasons behind parental support for private instrumental tuition, the effect of parental conceptions of ability, as well as the influences of their own involvement in music. The study utilised a mixed methods approach in data collection. Reasons behind parental support for private instrumental tuition include the desire to provide their children with a well-rounded education, enjoyment of playing a musical instrument and to nurture musical ability. These 'motherly' motives correlated significantly with those of a more competitive nature, such as providing music education as a means to maximise their children's potential in every area and to provide their children with an extra skill when compared to peers. Parents were also inclined to provide music lessons for non-musical benefits such as using music lessons to occupy their children during non-examination periods, and also as a means of developing good temperament and self-discipline in children. Parents who were more involved in musical life tend to be more involved in their children's music learning and tend to see high musical ability as the reason for providing musical training. Contrastingly, parents participating less in musical activities reported sending their children for music lessons because other parents are doing it and would be less involved in their children's progress in music learning. Implications regarding the notion of well-rounded education, the effects of conceptions of ability and the advocacy work of music education are discussed. 2008-12-18T05:18:12Z Girls don't rock and boys don't bop: adolescent musical identity and gender stereotypes in popular music. Baggott, Tara https://hdl.handle.net/2123/3992 2008-12-18T13:13:23Z 2008-12-18T04:16:21Z Girls don't rock and boys don't bop: adolescent musical identity and gender stereotypes in popular music. Baggott, Tara This study investigated what are considered to be gender appropriate musical behaviours from the perspective of adolescents, with a particular focus on listening behaviours and musical preferences. Gender stereotypes in popularised music and ways in which stereotypes are generated through popular media is also explored. Educational implications of gender delineated musical meaning in popular styles of music are considered in order to contribute to a growing body of research on the use of popular music in the classroom. Data were collected from three focus groups involving adolescents of varied ages from three different schools. Music educators from two of the participating schools also contributed to the study. Grounded theory was developed using open and axial coding of the collected data. Results indicated that gender stereotypes in music listened to by adolescents affect musical identity formation to varying degrees depending on susceptibility to social pressures. Gender delineated musical meaning in the classroom was found to have an impact on musical behaviours of students as a result of teacher attitudes and initiatives towards creating a gender balanced music classroom. 2008-12-18T04:16:21Z Rational and intuitive approaches to music composition: The impact of individual differences in thinking/learning styles on compositional processes Dingwall, Carina https://hdl.handle.net/2123/3991 2008-12-18T13:13:23Z 2008-12-18T02:54:41Z Rational and intuitive approaches to music composition: The impact of individual differences in thinking/learning styles on compositional processes Dingwall, Carina This study explores the idea that there are two different types of composers, those that use a rational process of composition involving pre-planning and use of external systems and those that use an intuitive process that involves trial and error or other exploratory means for composing. It focuses on further understanding these patterns of thought as they are found in the compositional processes of student composers as well as investigating their learning preferences. The study examines the compositional processes of five composition students from the Sydney Conservatorium of Music selected using their results on the SOLAT (Style Of Learning And Thinking) measure (Torrance, McCarthy & Kolesinski, 1988). After interviewing the five participants, a model was developed that explained how rational and intuitive patterns of thought were used at different levels. The macroprocesses of participants were found to sit on a continuum between rational and intuitive whilst at the micro-level participants were seen to use a mixture of both processes. The interview participants were also asked to comment on their preferred activities for learning composition. It was found that the participants believed their compositional processes were something that they developed themselves and they wanted a more personal approach to learning. The findings have implications for both teachers of composition and their students. 2008-12-18T02:54:41Z Canons in the classroom: An exploration of teachers' selection of works for musicological examination in New South Wales. Fienberg, Thomas https://hdl.handle.net/2123/3972 2008-12-12T13:41:00Z 2008-12-12T00:48:46Z Canons in the classroom: An exploration of teachers' selection of works for musicological examination in New South Wales. Fienberg, Thomas This study provides a detailed view of current practice in relation to the New South Wales Board of Studies Music 2 Syllabus Mandatory Topic, 'Music of the last 25 years (Australian focus)'. It closely examines various interpretations of this topic, and motivations behind these interpretations, through the voices of those involved in its implementation: an educational administrator, music educationalists, teachers and representatives from education-oriented arts organisations. Through interviews with these participants, this multi-case study examines patterns and influences behind the selection of works for the musicology component of the Mandatory Topic. Conducted across metropolitan and regional areas, the research investigates whether there is equitable access to resources. The study evaluates the complex factors and current practices in the selection of musicological works for study. By bringing to light the current unofficial canon shaped by teachers and others within NSW schools, this thesis proposes strategies for the teaching of musicology in ways that more accurately reflect contemporary educational thinking that is sound, progressive and inclusive. 2008-12-12T00:48:46Z The perceptions of adolescent boys regarding music participation and social behaviour Robertson, Alexis https://hdl.handle.net/2123/2442 2008-06-17T13:27:25Z 2008-05-25T04:41:44Z The perceptions of adolescent boys regarding music participation and social behaviour Robertson, Alexis This study is an exploration of adolescent boys' perceptions of the relationship between music participation and social behaviour. Adolescent boys have been identified by the literature as a social group in particular need of support and programs that encourage prosocial behaviour and protect against or discourage antisocial behaviour. The data were collected from seven boys from an all boys' state comprehensive school in Sydney. The boys ranged from Year 7 to Year 10. Data collection involved two focus group discussions and employed semi-structured questioning. Grounded theory was developed through open and axial coding of the transcribed data. It was found that adolescents perceive this relationship as a complex one, with many factors influencing both music participation and social behaviour. Results indicated that participants felt that the culture of the music ensemble, the genre of music and the degree of autonomous learning were all factors influencing this relationship. These results generate numerous avenues for further research, and add to the growing body of knowledge on music participation and social behaviour in adolescent boys. 2008-05-25T04:41:44Z A multi-case study of the ways music learning is used to meet the social, emotional and cultural challenges experienced by refugees and asylum seekers in Sydney Sebastian, Samantha https://hdl.handle.net/2123/2241 2008-06-17T13:19:41Z 2008-03-03T10:24:07Z A multi-case study of the ways music learning is used to meet the social, emotional and cultural challenges experienced by refugees and asylum seekers in Sydney Sebastian, Samantha This is a study of the ways in which refugee and asylum seeker learners benefit from engaging in community music programs during resettlement or detention. It explores the means by which music learning can address the social, emotional and cultural challenges often experienced after forced migration. This study examines three specific case study contexts: a choir, a general music education program and drumming workshops. As an intrinsic study, this thesis examines the circumstances particular to each case. Using participants' accounts, observations of learning experiences and program documents, it explores the impact of the organisers', teachers' and learners' expectations of and approaches to the programs. In addition, this project presents successful pedagogical principles on which others working with exiled communities can reflect. A close investigation of factors such as the learning environment, participants' perceptions of music and motivations for involvement reveals self-identity as a core issue through which the various social, emotional and cultural challenges may be addressed. 2008-03-03T10:24:07Z An exploration of a student string quartet as a model of cooperative learning Curotta, Laura https://hdl.handle.net/2123/2179 2008-06-17T13:17:58Z 2008-01-08T02:06:43Z An exploration of a student string quartet as a model of cooperative learning Curotta, Laura This descriptive case study explores the functioning of a student string quartet during rehearsal. Through the theoretical lens of social constructivism, this study seeks to develop a meaningful interpretation of the phenomenon of student chamber music rehearsals. Using a qualitative methodology, this study employs the data collection techniques of non-participant observation, group and individual interview to construct a rich description of the interactions and processes which make up the participants' rehearsal environment. The data indicate that rehearsals are a complex phenomenon and involve: the musical and social coordination of the group, an agreed sense of leadership, a regular rehearsal structure, and the group members' individual and collaborative construction of meaning through verbal discussions. External factors, such as upcoming concerts and master classes, appeared to have a positive effect on the group's perceived level of mental focus during rehearsals. The group's democratic style of leadership was found to permeate most aspects of the rehearsal process, in particular their mutual construction of meaning. Comparisons are made with the similar functions, leadership and achievements of cooperative learning groups, leading to speculation about further educational implications of this study. 2008-01-08T02:06:43Z Teaching and learning within the cross-cultural transmission of West-African music in Australian community settings Corney, Laura https://hdl.handle.net/2123/2178 2008-06-17T13:18:34Z 2008-01-08T01:59:12Z Teaching and learning within the cross-cultural transmission of West-African music in Australian community settings Corney, Laura This study aimed to uncover the strategies being used to teach West-African music in cross-cultural, community settings in Australia. It examined the motivations that govern the decisions to teach and learn traditional West-African music, as well as the influence of the philosophies and practices of West-African and Western music education on current pedagogy and music outcomes. The research design was that of an ethnographic multi-case study. Motivational issues included desire for entertainment, cultural experience, and improvement of skills. The musical skills and knowledge that teachers and learners wish to produce were categorised into immediate objectives of technique and rhythm, and long-term goals of stamina, self-direction, and deeper understanding of time and style. Emphasis on either long-term or short-term goals was found to affect strategies of teaching and learning. Changes to the learning environment were observed as having a major influence on traditional teaching methods, which are culturally incongruent with the pace of living and expectations of efficiency in Sydney. Adaptations to deal with these changes have resulted in supplementary verbal explanations, with atomistic analysis of rhythms. Additional learning tools used by experienced students included notation and recording devices. Concerns regarding the depth and authenticity of musical understanding as well as efficiency of learning are discussed. 2008-01-08T01:59:12Z The effects of a Cuban musical exchange trip on the musical journeys of students from a Sydney high school Riley, Emma https://hdl.handle.net/2123/2177 2008-06-17T13:18:33Z 2008-01-08T01:50:38Z The effects of a Cuban musical exchange trip on the musical journeys of students from a Sydney high school Riley, Emma This ethnographic study provides a qualitative account and analysis of the ways in which students' musical journeys are enhanced through cross cultural educational travel. Narrative reporting by Sydney High School students and other participants in a musical exchange trip to Cuba in December, 2006, highlights the learning experiences and types of learning which contribute to making such trips a context for deep learning. The rich data collected and analysed reveals observable personal and musical transformation as a result of the experiences and learning undertaken on the trip. A model for deep learning related to cross cultural exchange is developed, learning which emerges from the interaction between learning experience and types of learning that take place on such trips, and which emphasises experiential, reflective and serendipitous learning. The study includes recommendations deriving from cross cultural engagement and music exchange that relate to the design of effective and motivating learning experiences for students in more common music education contexts. 2008-01-08T01:50:38Z The musical education of academically gifted and talented students: Teachers' and students' perspectives Clarke, Shelley https://hdl.handle.net/2123/1418 2008-06-17T12:56:29Z 2007-01-18T00:00:00Z The musical education of academically gifted and talented students: Teachers' and students' perspectives Clarke, Shelley This research project has been designed as a pilot study in a specific field of educational research that has not yet been thoroughly explored. The aim of this study has been to discover the perspectives of teachers and students in academically selective contexts regarding the quality and effectiveness of their music teaching and learning experiences. These educational contexts included Academically Selective High Schools, and Opportunity Classes in New South Wales State Schools. The themes that have been addressed in this study include the awareness of teachers of the special educational needs of their academically gifted and talented students, their ability to provide quality and appropriate music programs to these students, the issues that affect the quality of music programs in academically selective contexts, and the perceptions of the students regarding their levels of challenge and engagement in their classroom music lessons. This is a qualitative study, designed to reveal the perspectives and opinions of the participants, and to expose significant areas for further research. 2007-01-18T00:00:00Z Exploring the self-concept and identity of Sydney Conservatorium students with and without absolute pitch O'Connor, Julie https://hdl.handle.net/2123/1417 2008-06-17T12:56:28Z 2007-01-18T00:00:00Z Exploring the self-concept and identity of Sydney Conservatorium students with and without absolute pitch O'Connor, Julie Absolute Pitch (AP) is the ability to identify pitches without external references (Parncutt & Levitin, 2001). It is a rare ability that is more prevalent among musicians. This qualitative study explored the perceptions of Sydney Conservatorium of Music students through interviews, focusing on the value of AP possession, and implications for music self-concept. The study involved 12 Conservatorium University and High School students; six participants were self-nominated absolute pitch possessors, and the remaining six were categorised as relative pitch (RP) users. Through discussions of the value, prevalence and practicality of AP, the data suggested that AP is a highly desirable ability among Conservatorium students, and particularly valued by those who possess it. The results also suggested that RP students tend to have less positive self-concepts in aural perception and music theory, while having more positive self-concepts in other musical arenas. The majority of the AP participants had a desire to become a solo performer, and the RP participants' tended to plan broader musical goals such as combining teaching and ensemble performance. These results suggested that the possession of AP has had a significant effect on the identity of these individuals. 2007-01-18T00:00:00Z


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Girl in a Boat, with Geese 1889 - Berthe Morisot - WikiGallery.org, the largest gallery in the world
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Girl in a Boat, with Geese 1889
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