Syftet med detta arbete är att undersöka flow i processen för skrivandet av en låt utan att den hamnar i en specifik genre. Undersökningen fokuserar på hur ackord, harmonik och melodi påverkar resultat. Genom att skapa två versioner av samma låt i olika genrer, house och rock, utifrån en demoversion, undersöks min term genrefluiditet. För att genomföra detta har en strukturerad arbetsgång följts där låtens kärna bevarats genom hela processen medan stilistiska och genremässiga anpassningar har gjorts för att uppnå autentiska representationer av respektive genre.

This thesis consists of two papers with somewhat different flavours. In Paper I we compute the étale cohomology ring H^*(X,Z/nZ) for X the ring of integers of a number field K. As an application, we give a non-vanishing formula for an invariant defined by Minhyong Kim. We also give examples of two distinct number fields whose rings of integers have isomorphic cohomology groups but distinct cohomology ring structures. In Paper II we define stacky building data for stacky covers in the spirit of Pardini and give an equivalence of (2, 1)-categories between the category of stacky covers and the category of stacky building data. We show that every stacky cover is a flat root stack in the sense of Olsson and Borne–Vistoli and give an intrinsic description of it as a root stack using stacky building data. When the base scheme S is defined over a field, we give a criterion for when a stacky building datum comes from a ramified cover for a finite abelian group scheme over k, generalizing a result of Biswas–Borne. / Denna avhandling består av två artiklar som skiljer sig något i karaktär. I Artikel I beräknar vi den étala kohomologiringen H^*(X,Z/nZ) då X är ringen av heltal av en talkropp K. Som en tillämpning, ger vi ett kriterium i form av en formel för när en invariant definierad av Minhyong Kim är noll eller ej. Vi ger också exempel på två olika talkroppar vars ringar av heltal har isomorfa kohomologigrupper men olika kohomologiringstrukturer. I Artikel II definierar vi stackig byggnadsdata för stackiga övertäckningar i Pardinis anda och visar en ekvivalens av (2,1)-kategorier mellan kategorin av stackiga övertäckningar och kategorin av stackig byggnadsdata. Vi visar att varje stackig övertäckning är en platt rotstack i Olsson och Borne–Vistolis mening och vi ger en intrinsisk beskrivning av den som en rotstack med hjälp av stackig byggnadsdata. När basen S är definierad över en kropp, ger vi ett kriterium för när ett stackigt byggnadsdatum kommer från en ramifierad övertäckning för ett ändligt abelskt gruppschema över k. Detta generaliserar ett resultat av Biswas–Borne.

This research presents models for the analysis of textural and contextual information content of multiscale remote sensing to select an appropriate scale for the correct interpretation and mapping of heterogeneous urban land cover types. Spatial complexity measures such as the fractal model and the Moran’s I index of spatial autocorrelation were applied for addressing the issue of scale, while fuzzy set theory was applied for mapping heterogeneous urban land cover types. Three local government areas (e.g. the City of Perth, the City of Melville and the City of Armadale) of the Perth metropolitan area were selected, as the dominant land covers of these areas are representative to the whole metropolitan area, for the analysis of spatial complexity and the mapping of complex land covers. Characterisation of spatial complexity of the study areas computed from SPOT, Landsat-7 ETM+, and Landsat MSS was used for assessing the appropriateness of a scale for urban analysis. Associated with this outcome, the effect of spectral resolution and land cover heterogeneity on spatial complexity, the performance of fractal measurement algorithms and the relationship between the fractal dimension and Moran’s I were identified. A fuzzy supervised approach of the fuzzy c-means algorithm was used to generate fuzzy memberships of the selected bands of a Landsat-7 ETM+ scene based on the highest spectral separability among different urban land covers (e.g. forest, grassland, urban and dense urban) as determined by a transformed divergence analysis. Fuzzy land cover maps resulting from the application of fuzzy operators (e.g. maximum, minimum, algebraic sum, algebraic product and gamma operators) were evaluated against fuzzy memberships derived from the virtual field reference database (VFRDB). / The performance of fuzzy operators in generating fuzzy categorical maps along with the effect of land cover heterogeneity on fuzzy accuracy measures and sources of classification error were assessed. The analysis of spatial complexity computed from remote sensing images using a fractal model indicated that the various urban land cover types of the Perth metropolitan area are best represented at a resolution of 20 m (SPOT) as the fractal dimension (D) was found higher, as compared to the 25 m and 50 m resolutions of the Landsat-7 ETM+ and Landsat MSS, respectively, demonstrated the ability of the fractal model in distinguishing variations in the composition of built-up areas in the green and red bands of the satellite data, while forested areas typical of the urban fringe appear better characterised in the NIR band. Moran’s I of spatial autocorrelation was found useful in describing the spatial pattern of urban land cover types. A comparison between the D and Moran’s I of the study areas revealed a negative correlation, indicating that the higher the Moran’s I, the lesser the fractal dimension indicating a lower spatial complexity. Likewise, the results The accuracy of the fuzzy categorical maps associated with multiple spectral bands of a Landsat-7 ETM+ scene using various fuzzy operators reveals that the fuzzy gamma operator (y = 0.90) outperformed the categorical accuracy measures obtained by applying the fuzzy algebraic sum and other fuzzy operators for the City of Perth, while the accuracy measures of y value of 0.95 were found highest for the City of Melville and the City of Armadale. / A comparison of the accuracy measures of the fuzzy land cover maps of the study areas indicated that the overall accuracy of the City of Perth was up to 13% higher than the overall accuracy of the City of Melville and the City of Armadale which was found 69% and 71%, respectively. The lower accuracy measures of the City of Melville and the City of Armadale was attributed to highly mixed land cover classes resulting in mixed pixels in Landsat-7 ETM+ scene. In addition, the spectral similarity among the class forest and grassland, urban and dense urban were identified as sources of classification errors. The analysis of spatial complexity using multiscale and multisource remote sensing data and the application of fuzzy set theory provided a viable methodology for assessing the appropriateness of scale selection for an urban analysis and generating fuzzy urban land cover maps from a multispectral image. It also illustrated the longstanding issue of carrying out the accuracy of the fuzzy land cover map considering the fuzzy memberships of the classified data and the reference data using a fuzzy error matrix.

Excessive phosphorus (P) in runoff contributes to eutrophication of fresh water bodies. Studies have shown that manure and effluent applied from animal feeding operations to waste application fields (WAFs) have contributed to excess P in segments of the North Bosque River in east central Texas. There is a growing need for environmentally sound, economically viable, and easy to establish best management practices to control such pollution. Vegetative buffer strips offer a potential solution for reducing runoff P from WAFs by extracting it from soil and by reducing sediment P delivery (due to reduced runoff and soil erosion) to streams. In a field study, ten plots (5m x 5m) were assigned to five replicated treatments, namely control (bare, without having any plant cover), cool season grass, warm season forb, warm season grass, and warm season legume to assess their efficacy of runoff sediment control and P sequestration potential from soil. These plots were established on a coastal Bermuda grass WAF that received dairy lagoon effluent. A runoff collection system, a 1m x 1m sub-plot with a runoff conveyance and collection apparatus, was installed on the upstream and downstream margins of each plot. Natural rainfall runoff samples were collected and analyzed subsequently for total P, soluble P, and total suspended solids in the laboratory. Additionally, the total mass of runoff collected from each sub-plot was calculated. Results suggested that the warm season forb and warm season grass were the most effective vegetative covers for the reduction of runoff P, followed by coastal Bermuda and cool season grass, respectively. The lesser amount of runoff total P in these two treatments was due to lesser runoff mass and lesser sediments in the runoff due to initial interception of rain and less raindrop impact on soil because of denser vegetative cover in both treatments compared to all other treatments.

Commercial recordings - CDs, LPs - are familiar objects. However, discussion about them has often attempted to conceal the fact that, as communicating objects, recordings pose special problems due to the fact that they unite text, image, and sound in a material commodity. This thesis examines the role of the visual in the production, circulation and use of recordings. The album cover is the primary category of study, with an emphasis on its functioning in relation to the recording as a sonic and material commodity. The label ECM, a German company which has been producing recordings since 1969, provides the main focus in this analysis. The basis of this investigation lies in the questioning of the assumptions and categories that have historically guided the activity of cover design and the discourse about it. Traditionally, recordings have been understandably seen primarily as sound-carriers; their visual aspects, even when celebrated, are most often relegated to a peripheral status, despite the fact that in certain contexts the importance of the visual can overwhelm that of sound. The usual hierarchical opposition between these elements is here questioned through an examination of both the marketing of recordings and their circulation and use. ECM provides a pertinent case through which such questions can be elaborated. Its visual marketing strategies can be characterised in terms of a desire for difference. ECM's attempt to set itself apart has resulted in a "look" which rejects many conventions. It has also resulted in a complex, conceptual group of visual strategies. In its particular use of landscape photography, blank space, and gestural markings, ECM constructs ideas of space which relate to the potential for performativity and creativity. Through the combination of these strategies, the label deemphasises creative personality of the musical performer and emphasises the space occupied by the looker/listener. In doing this, it also questions the traditional boundaries between music and the visual. ECM's covers cause these categories to become indistinct and allow new conceptions of the recording as a material commodity to emerge. One effect of this is a construction of the apprehender's subjectivity that fails to fit within the marketplace's traditional categories. The thesis considers how the visual has been implicated in more concrete processes such as the negotiation of taste and practices of consumption and use. The niche that ECM attempts to carve out for itself is considered in relation to the tension in the marketplace between the desire for distinction and the recording as a massproduced commodity.

Thesis(M.S.)--Auburn University, 2006. / Abstract. Includes bibliographic references (p.61-74).

Thesis (M.S.)--Ohio University, August, 2004. / Includes bibliographical references (p. 68-73)

Thesis (M.S.)--Ohio University, August, 2004. / Title from PDF t.p. Includes bibliographical references (p. 68-73)

Commercial recordings - CDs, LPs - are familiar objects. However, discussion about them has often attempted to conceal the fact that, as communicating objects, recordings pose special problems due to the fact that they unite text, image, and sound in a material commodity. This thesis examines the role of the visual in the production, circulation and use of recordings. The album cover is the primary category of study, with an emphasis on its functioning in relation to the recording as a sonic and material commodity. The label ECM, a German company which has been producing recordings since 1969, provides the main focus in this analysis. The basis of this investigation lies in the questioning of the assumptions and categories that have historically guided the activity of cover design and the discourse about it. Traditionally, recordings have been understandably seen primarily as sound-carriers; their visual aspects, even when celebrated, are most often relegated to a peripheral status, despite the fact that in certain contexts the importance of the visual can overwhelm that of sound. The usual hierarchical opposition between these elements is here questioned through an examination of both the marketing of recordings and their circulation and use. ECM provides a pertinent case through which such questions can be elaborated. Its visual marketing strategies can be characterised in terms of a desire for difference. ECM's attempt to set itself apart has resulted in a "look" which rejects many conventions. It has also resulted in a complex, conceptual group of visual strategies. In its particular use of landscape photography, blank space, and gestural markings, ECM constructs ideas of space which relate to the potential for performativity and creativity. Through the combination of these strategies, the label deemphasises creative personality of the musical performer and emphasises the space occupied by the looker/listener. In doing this, it also questions the traditional boundaries between music and the visual. ECM's covers cause these categories to become indistinct and allow new conceptions of the recording as a material commodity to emerge. One effect of this is a construction of the apprehender's subjectivity that fails to fit within the marketplace's traditional categories. The thesis considers how the visual has been implicated in more concrete processes such as the negotiation of taste and practices of consumption and use. The niche that ECM attempts to carve out for itself is considered in relation to the tension in the marketplace between the desire for distinction and the recording as a massproduced commodity. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

In geometry we will consider n-dimensional generalizations of the Power of a Point Theorem and of Pascal's Hexagon Theorem. In generalizing the Power of a Point Theorem, we will consider collections of cones determined by the intersections of an (n-1)-sphere and a pair of hyperplanes. We will then use these constructions to produce an n-dimensional generalization of Pascal's Hexagon Theorem, a classical plane geometry result which states that "Given a hexagon inscribed in a conic section, the three pairs of continuations of opposite sides meet on a straight line." Our generalization of this theorem will consider a pair of n-simplices intersecting an (n-1)-sphere, and will conclude with the intersections of corresponding faces lying in a hyperplane. In graph theory we will explore the interaction between zero forcing and cut-sets. The color change rule which lies at the center of zero forcing says "Suppose that each of the vertices of a graph are colored either blue or white. If u is a blue vertex and v is its only white neighbor, then u can force v to change to blue." The concept of zero forcing was introduced by the AIM Minimum Rank - Special Graphs Work Group in 2007 as a way of determining bounds on the minimum rank of graphs. Later, Darren Row established results concerning the zero forcing numbers of graphs with a cut-vertex. We will extend his work by considering graphs with arbitrarily large cut-sets, and the collections of components they yield, to determine results for the zero forcing numbers of these graphs.