Thesis (D. M. A.)--Ohio State University, 2005. / Title from first page of PDF file. Document formatted into pages; contains vii, 133 p.; also includes graphics (some col.). Includes bibliographical references (p. 47-48). Available online via OhioLINK's ETD Center.

No description available.

Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 1981. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ENGINEERING. / Bibliography: leaves 45-47. / by David Alex Levitt. / M.S.

Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 1981. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ENGINEERING. / Includes bibliographical references. / by John Turner Maxwell III. / M.S.

Despite the increasing presence of technology in composition classrooms, students have not yet accepted the idea of multiple writing technologies – in fact, most students do not yet fully understand the role of the word processor in their individual writing process. The research goal of this dissertation is therefore to examine the physical experience of writing, both in and outside of a computer composition classroom, from students’ perspective by investigating their definitions of writing and how they understand the relationship between writing and technology. To highlight student writing practices, the analysis uses both qualitative and quantitative data from two classes in a PC computer lab at Texas A and M University, one freshman composition and one advanced composition course. Several important patterns have emerged from the analysis of this data, and each of the main chapters focuses on a different student perspective. Chapter II argues that students tend to view computers simply as instruments or tools, an understanding that affects how they perceive and work with classroom computers. Because how they perceive and approach computers affects their writing, Chapter III examines student theories of writing and technology. The discussion postings indicate that students write differently at home than they do in the classroom, and this distinction creates context-bound theories. They are more familiar with the personal context, often exhibiting an inability to translate their ease with this type of writing or computer functions into an academic environment. Their makeshift theories lead to writing practices, and Chapter IV examines student responses for patterns regarding how writing happens. Specifically, discomfort with academic writing leads them to compose with a computer because they believe technology makes this process faster and easier; however, their choice of medium can actually derail writing when made for reasons of ease or convenience. This study finds that physical set-up of the classroom and the curriculum are factors that have perpetuated these problems. Despite these obstacles, a computer classroom approach has unique advantages, and a new approach is proposed, one that focuses on developing rhetorical flexibility or the ability of students to produce multiple texts in multiple contexts.

This thesis implements Milton Babbitt's time-point system for music composition via the creation of a computer software application for the Macintosh computer. This system asks the composer to enter musical information, which is used to calculate pitch, duration, articulation, texture, octave, and silence, for the time-point composition. The application generates a file of musical information that is compatible with a performance application; the performance application will execute the composition communicating with MIDI-compatible musical instruments.The purpose of this project was to create a compositional tool that would implement the time-point system by reducing hours of hand calculation and tedium, and would provide an accessible and efficient approach to time-point composition. It is intended that this application be used to assist both the serious composer as well as the student of music composition. / School of Music

Thesis (M.C.A.-Res.)--University of Wollongong, 2005. / Typescript. Includes CD-ROM in back pocket. Includes bibliographical references: leaf 66-75.

Thesis (M.M.)--The University of North Carolina at Greensboro, 2009. / Directed by Mark Engebretson; submitted to the School of Music. Title from PDF t.p. (viewed Jun. 4, 2010). Includes bibliographical references (p. 28).

Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2009. / Directed by Randy Kohlenberg; submitted to the School of Music. Title from PDF t.p. (viewed May 13, 2010). Includes bibliographical references (p. 51-54).

Orientador: Jônatas Manzolli / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T23:53:40Z (GMT). No. of bitstreams: 1 Shellard_MarianaCerroti_M.pdf: 145767659 bytes, checksum: 2749a763a29b4d17a0a59b9f6e7383de (MD5) Previous issue date: 2010 / Resumo: A pesquisa descreve a representação sonora dos registros visuais de um movimento repetitivo, nos quais, deflagram-se a vivência do cotidiano, a aprendizagem do corpo no desenvolvimento do gesto e a influência do ambiente e das emoções, convergindo para a formação e quebra de padrões. Enquanto a investigação de diferentes materiais sonoros procurou aquele que melhor expressasse as características plásticas dos registros, foi realizado o mapeamento das manchas e respingos de tinta e da repetição do gesto - características comuns a todos os registros - para alimentar um sistema sonoro de síntese evolutiva. Este último, desenvolvido pelo músico e pesquisador José Eduardo Fornari Novo Junior (FORNARI, 2003) / Abstract: The research describes the sound representation of visual records of a repetitive gesture that trigger the everyday experiences, learning from the body in the development of gesture and the influence of environment and emotions, converging on the formation of patterns. While the investigation of different sound materials sought the best one to express the common characteristics of the records: ink drips and stains and repetition of the gesture, their computational mapping fed a sound system of evolutionary synthesis. The latter, developed by researcher and musician José Eduardo FornariNovo Junior (FORNARI, 2003) / Mestrado / Artes Visuais / Mestre em Artes