STORYTELLING, EMOTION UNDERSTANDING, AND KINDERGARTNERS’ SOCIAL COMPETENCE

Interpreting others’ emotions is theoretically foundational for children’s social competence, yet little research contrasts Emotion Understanding (EU) types against their theoretical correlates. This study investigated kindergartners’ situationistic EU (attributing emotions based on external events) and mentalistic EU (attributing emotions from others’ mental states) in relation to Theory of Mind (ToM) and social skills, as rated by parents and teachers. The EU measures were expected to have low associations with one another and to relate differently to ToM and select social skills. Mentalistic EU was expected to be an important predictor of teacher-rated social skills. Results supported the hypothesis that mentalistic EU and situationistic EU are distinct constructs. However, both relate to ToM. Furthermore, while ToM and situationistic EU variables were included in the regression model, only vocabulary and mentalistic EU were significant predictors for teacher-rated social skills. Results indicate the importance of mentalistic EU in aspects of kindergartners’ social competence.

ELGAR AND MART&: THE CELLO WORKS AND MUSICAL CHARACTERISTICS OF TWO REMARKABLE, SELF-TAUGHT, NATIONALISTIC COMPOSERS

The British Edward Elgar and Czech Bohuslav MartinB were two of the most prominent Nationalistic composers of their respective countries during the late nineteenth and early twentieth centuries. Their musical patriotism incorporates the unique paths of their lives as socially isolated and self-taught composers as expressed their outstanding Nationalistic compositions produced through the period of history encompassing the two World Wars.In the first chapter of this dissertation, a brief biography of Elgar is presented and the essential aspects of his formative years influencing him to become a self-taught musician are discussed. The second chapter demonstrates Elgar's musical characteristics through the study of a selection of his masterpieces. In the third chapter, a brief biography of Martinti is presented along with a history of his musical development, characterized by his social isolation during four different periods of his life-his residences in PoliCka, Prague, Paris, and then in the United States. The fourth chapter considers MartinB's musical characteristics as revealed through the study of a selection of his greatest works. In support of this doctoral project, I performed two recitals of cello works by Elgar and Martini3 at the University of Maryland, College Park. The first recital, accompanied by Susan Slingland and Hiroko Yamazaki, included three of Martini3's works, Sonata No. 2 for Cello and Piano (1941); Variations on a Theme of Rossini for Cello and Piano (1 942); and Sonata No. 3 for Cello and Piano (1952). The second recital, accompanied by Wonyoung Chang and Naoko Takao, presented Martini3's Sonata No. 1 for Cello and Piano (1939) and Elgar's Concerto for Cello and Orchestra Op. 85 in E minor (1 919).