Social Cognition and Interaction Training (SCIT) for Individuals with Schizophrenia Spectrum Disorders in Outpatient Treatment Settings

The role of social cognition in severe mental illness (SMI) has gained much attention, especially over the last decade. The impact of deficits in socio-cognitive functioning has been found to have detrimental effects on key areas of day-to-day functioning in individuals with SMI, such as gaining and maintaining employment and overall experienced quality of life. Treatment of individuals with SMI is challenging, as the presentation of individual signs and symptoms is rather heterogeneous. There are several treatment approaches addressing deficits ranging from broader social and interpersonal functioning to neurocognitive and more intrapersonal functioning. As research in the domain of social cognition continues to identify specific deficits and its functional detriments, treatment options need to evolve to better target identified functional deficits. Social Cognition and Interaction Training (SCIT) was recently developed to address specific socio-cognitive deficits in an inpatient population of individuals with schizophrenia-spectrum disorders. This study applied SCIT in an outpatient SMI population as many deficits remain after individuals’ symptoms are less severe and overall functioning is more stable than during the acute inpatient phase of their rehabilitation. Specifically, this study has two objectives. First, to demonstrate that deficits in social cognition persist after the acute phase of illness has abated. Second, to demonstrate that these deficits can be ameliorated via targeted treatment such as SCIT. Data was gathered in local outpatient treatment settings serving a heterogeneous SMI population. Adviser: William D. Spaulding

THE FLUTE MUSIC OF PAUL DESENNE: A COMPARATIVE ANALYTICAL STUDY OF REPRESENTATIVE WORKS

The significance of the works by Venezuelan-born composer Paul Desenne lies in his unique compositional style that incorporates elements of Latin American folk, pop, and traditional music within the framework of the Western European tradition. His works, though easily classified as art music, nevertheless gain much of their emotional and referential meaning through this rich borrowing. This document focuses on three of Desenne’s flute pieces: the Solo Flute Sonata (2001), Gurrufío for flute orchestra (1997), and Guasa Macabra for flute and clarinet (2003). It provides an analysis of the three works, examining formal, structural, motivic, and rhythmic aspects. Scores and interviews with the composer have been employed as primary sources. Bibliographical material closely related to his music and other secondary sources support this analytical approach. This document also provides an introduction and stylistic discussion of Desenne’s other pieces that incorporate the flute. Chapter one consists of an introduction to Desenne’s life and general considerations of his musical style. Each of the following three chapters focuses on one the three aforementioned flute works, including information about the composition and premiere of each piece as well as analysis and an examination of its incorporation of traditional folk elements. The final chapter presents an introduction to and stylistic discussion of the other flute pieces by this composer. This study intends to provide a basic understanding of Desenne’s flute music, including general characteristics of his musical style, paving the way for further investigation of Desenne’s music, and flute music in particular.

Generalizing the dynamic field theory of spatial cognition across real and developmental time scales

Within cognitive neuroscience, computational models are designed to provide insights into the organization of behavior while adhering to neural principles. These models should provide sufficient specificity to generate novel predictions while maintaining the generality needed to capture behavior across tasks and/or time scales. This paper presents one such model, the Dynamic Field Theory (DFT) of spatial cognition, showing new simulations that provide a demonstration proof that the theory generalizes across developmental changes in performance in four tasks—the Piagetian A-not-B task, a sandbox version of the A-not-B task, a canonical spatial recall task, and a position discrimination task. Model simulations demonstrate that the DFT can accomplish both specificity—generating novel, testable predictions—and generality—spanning multiple tasks across development with a relatively simple developmental hypothesis. Critically, the DFT achieves generality across tasks and time scales with no modification to its basic structure and with a strong commitment to neural principles. The only change necessary to capture development in the model was an increase in the precision of the tuning of receptive fields as well as an increase in the precision of local excitatory interactions among neurons in the model. These small quantitative changes were sufficient to move the model through a set of quantitative and qualitative behavioral changes that span the age range from 8 months to 6 years and into adulthood. We conclude by considering how the DFT is positioned in the literature, the challenges on the horizon for our framework, and how a dynamic field approach can yield new insights into development from a computational cognitive neuroscience perspective.

Rap Music and Hip Hop on Amerian College Campuses

My session will cover how many young African Americans believe that Rap music and Hip Hop is more important and relevant today on college campuses than the Civil Rights movement, or learning about the great works'. But one must seriously question whether Rap music and/or the Hip Hop culture is more significant than the movement that gave most Americans in the United States a modicum of equally in our institutionally racist society.

The Evolution of Sonata Form in the Wind Music of W.A. Mozart

Mozart’s wind music occupies a rather small space in the overall scope of his compositional output, numbering a total of ten works. Yet when viewed in the larger context of Mozart’s life, the wind music was written over the span of nine years, encompassing a large period from his youth up to his last decade in Vienna. Ranging from the simple divertimenti (K. 166 and 186) through the Tafelmusik (K. 213, 240, 252, 253 and 270) and finally culminating in the three Serenades (K. 361, 375 and 388), the wind music demonstrates Mozart’s maturation in wind writing, and also serves to illustrate the evolution in his use of sonata forms.

Music at the Fair! The Trans- Mississippi and International Exposition. An Interactive Website

“Music at the Fair!” gives the daily musical programs for The Trans-Mississippi and International Exposition, held in Omaha, Nebraska, June 1 through October 31, 1898. The Trans-Mississippi and International Exposition brought an unprecedented array of local, national, and international musical acts to Omaha, NE in 1898. This served to designate Omaha, "the gateway to the west" as a musical hub, as well as to incite musical excitement in the region. Some of the more popular acts featured were the Theodore Thomas Orchestra, the U.S. Marine Band, and the Apollo Club of Chicago. Many more groups and their musical programs can be found within the pages of this site. The “Music at the Fair!” website was created by Grace Carey, and last revised on May 19, 2006.It is the result of a two- year research grant funded by an Undergraduate Creative Activities and Research Experiences (UCARE) grant through the University of Nebraska at Lincoln. It is an extension of an ongoing project on music at the TME by Music Professor Peter Lefferts. The primary sources of information for the site are the following newspapers from June – November 1898: The Omaha Daily Bee, the Omaha Evening Bee, and the Omaha World Herald, and the the official programs of the fair located in the archives at the Omaha Public Library. I would like to thank the helpful staff at the Nebraska State Historical Society and the downtown branch of the Omaha Public Library. Site Creator: Grace Carey Project Advisor: Peter Lefferts, Professor of Music History at the University of Nebraska, Lincoln The linked “Document” is a flat PDF version of the interactive website. To download the fully interactive html version, click on the “Related file” to download the zipped folder. When unzipped, click on the file named “index” to enter the website.