The problem with which this study is concerned is a comparison of the effects of three methods of focused feedback upon selected client behaviors in individual counseling. This study has a twofold purpose. The first is to examine which of three methods of focused feedback (videotape, audiotape, or verbal) is most effective in producing selected behavioral changes in clients seen in individual counseling. The second is to compare the effects of the three methods of focused feedback on individual clients with the effects of a traditional individual counseling approach that did not utilize focused feedback.

The purpose of the investigation was to collect information from ninety representative art museums in Europe and North America, with visits made to forty-five and a validated questionnaire sent to the others; to study their research-oriented publications as to contents; and to organize the data so that they would be of value to graduate art students. Although this information will be of value to scholars, undergraduate students, and museum personnel, the study was restricted to the graduate art student because some museum libraries restrict their facilities to this educational level.

The primary purpose of the study was to determine the effectiveness of an intensive, in-service training program for modifying selected personality traits among para-professional counselor aides restricted to working with emotionally disturbed youth in a residential treatment center. Additionally, an attempt was made to identify the areas in which personality traits were modified, both between experimental and control groups and between males and females.

The problem with which this investigation is concerned is that of determining the effects of videotaping and subsequent playback on the communication performance of introverted and extroverted individuals. The principal method of determining these effects is the subjective judgment of a panel of qualified speech instructors who viewed videotaped speeches made by the subjects. All subjects were repeatedly subjected to videotaping, and half were exposed to playback. Statistically, by using one-way analysis of covariance, the effects of playback were measured: The speaking scores achieved by the experimental introverts and extroverts were compared with the speaking scores of the control introverts and extroverts. Sixty-four subjects were used; these were limited to college students enrolled in the teacher-education program. To carry out the purposes of the study, the following hypotheses were tested: 1. There will be a significant difference between the scores of introverted trainees who are videotaped and exposed to playback and the scores of introverted trainees who are videotaped but not exposed to playback. 2. There will be a significant difference in the scores of extroverted trainees who are videotaped and exposed to playback and the scores of extroverted trainees who are videotaped but not exposed to playback.

The purposes of this study are to identify and describe the function and control of facial muscles as related to sound production on brasswind instruments, to explore electromyographic theory and techniques with particular regard to the function and control of facial muscles, to identify basic theories of embouchure among brasswind teachers and performers, to develop a theory of brasswind embouchure based upon the preceding factors, and to propose recommendations with regard to brasswind pedagogy. Existing theories of embouchure were investigated by reviewing the extensive brasswind pedagogical literature, and by interviewing teachers representing two widely differing views. Electromyographic kinesiology of facial muscles was investigated as follows: a description of facial muscles was formulated by collating anatomy books; related electromyographic literature was reviewed; eloctromyographic recordings of facial muscled during, the performance of various facial muscle tasks and during brasswind performance were made using indwelling fine-wire electrodes. The following fundamental questions were raised: (1) What are the elements of brasswind embouchure, and what is the effect of each upon performance? (2) Is there a single embouchure mode which may be considered most efficient, and if so, what facial muscles are involved, and how may they be trained?