This study describes the learning projects of a sample of engineers between the ages of 25 and 35 employed by a single employer in Port Worth, Texas. The problem of this study was the nature and extent of the continuing education programs of young engineers and the implications of these programs to their job requirements and possible employer assistance. The purposes of this study were to determine the number and types of learning projects undertaken each year by engineers with degrees, the number of hours spent by the subjects, the problems experienced, the resources used, the amount of job-related learning projects undertaken, the locations used to pursue learning projects, and whether the learning projects were amenable to assistance from employers.

Studiens syfte är att prova olika laborativa arbetssätt, för att förstå de kvalitativa skillnaderna i hur instruktionerna inverkar på dels vad läraren gör, dels på vad eleverna gör vid undervisningstillfället. och. Målet med studien är att lyfta fram de möjligheter och begränsningar olika arbetssätt medför, och vad det innebär för användningen av laborationer i undervisningen. Studien har en kvalitativ ansats och omfattar en intervention, med en lärare (deltagande observatör), samt elever från årskurs 4 och årskurs 6 i grundskolan. Genom en metodkombination, med filmupptagning under laborationerna, samt semistrukturerade intervjuer före och efter laborationen, samlades empirin in.  Resultatet visar att begränsad frihetsgrad möjliggör att eleverna kan arbeta mer självständigt, medan ökad frihetsgrad öppnar upp för kritiskt resonerande om ämnesinnehållet. Lärarens roll i de olika arbetssätten tar olika form, där läraren är mer involverad vid frånvaron av en stegvis instruktion, vilket ställer högre krav på lärarens tillgänglighet. I den strukturerade laborationen var rollen av stöttande och korrigerande karaktär, som sågs begränsa lärarens fokus till ett följande av den stegvisa instruktionen. Lärare behöver fundera hur det vetenskapliga innehållet i laborationen synliggörs för eleverna. Slutsatser från studien är att arbetssättet i en laboration behöver anpassas efter dess syfte och elevernas kunskaper, där kritiska vetenskapliga samtal bör utgöra en del. / The purpose of the study is to try different ways of working with inquiry, to try and understand the qualitative differences how instructions affects what the teacher and the students do during the time of teaching. The goal of the study is to bring out the opportunities and limitations that the ways of working bring, and what it means for the use of inquiry in teaching. The study has a qualitative approach and embodies an intervention, with a teacher (participating observer), and students from grade 4 and grade 6 in Swedish primary school. Through a combination of methods, by means of film recording during inquiry, and semi structured interviews before and after inquiry, the data was gathered. The results show that a limited degree of freedom facilitate that the students can work more independently, while an increased degree of freedom open up for critical reasoning about the contents of the subject. The teacher’s role during the different ways of working takes varied shape, with the teacher being more involved when there’s no step-by-step instruction, and therefore demand more of the teacher’s accessibility. In the structured inquiry the role take on a supportive and corrective nature, which was seen limiting the teacher’s focus to a following of the step-by-step instruction. Teachers need to reflect how the scientific content of inquiry is made visible to the students. Conclusions from the study is that the ways of working in inquiry needs to be adapted after its purpose and the student’s knowledge, where critical scientific conversations need to be a part.

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<p> We study the problem of finding approximate significance points of random variables whose exact distributions are unknown or extremely complicated . We consider the case where at least the first three moments, and possibly the lower or upper endpoint of the distribution are known. </p> <p> The methods of approximation studied include the Johnson system of transformations, Pearson curves, Pearson curves with known lower terminal, Cornish-Fisher expansions and the approximation a+bW, where W is chi-squared with p degrees of freedom . A new three-moment approximation of the form (cW)^k, with W as defined above, is also considered. These methods of approximation are discussed, with special attention to fitting procedures and computer implementation. </p> <p> The methods of approximation are compared, with respect to ease of application and accuracy of approximation, over a wide variety of exact distributions. The accuracy of each approximation is discussed and guidelines are given for determining which of several approximations should be used in a particular case. </p> / Thesis / Master of Science (MSc)

Wie die Dur-Moll-Tonalität in die Modalität der ›Kirchentöne‹ vordrang, gehört zu den Kernfragen des 17. Jahrhunderts. Ein aufschlussreiches Beispiel dafür gibt Heinrich Schütz in seinem 1628 erschienen, 1661 überarbeiteten und komplettierten Becker-Psalter mit insgesamt 158 Sätzen, die meisten mit eigener Melodie. Nicht erst in der Dur-Moll-Tonalität, sondern bereits bei den Kirchentönen existieren jeweils 24 ›Dur‹- und ›Moll‹-Tonarten, jedoch in grundverschiedener Ausprägung, wobei die kirchentonale Ordnung die generelle Verwendung von b-durum (Tonstufe h) bzw. b-molle (b) betrifft, nicht wie im Spätbarock und später die Anzahl der b- oder Kreuz-Vorzeichen. Schütz Musik gründet sich noch gänzlich auf die 24 Modi, die in seinem Becker-Psalter nahezu vollständig vertreten sind mit deutlichem Übergewicht der dorischen und jonischen Modi. Während Schütz den äußeren Rahmen der durum- und molle-Vorzeichnung beibehält, erweitert er diesen jedoch teils mit Hilfe eingefügter Akzidentien bis as, so dass dadurch faktisch weitere Transpositionen wie c-Dorisch und B-Jonisch entstehen. Wesentliche Bedeutung zur tonalen Einordnung kommt den angestrebten Kadenzstufen zu, seit Zarlino den traditionellen ›Hauptstufen‹ I, V und III als erst-, zweit- und drittrangige regulares. Zahlreiche Sätze auch bei Schütz halten sich an diese Rangordnung. Ergänzend können als weitere Kadenzstufen die IV. und VI., ausnahmsweise auch die II. oder VII. Stufe als irregulares oder gar peregrinae (fremde) hinzukommen, wobei die hexachordale Ordnung (Hexachorde auf c und f) prinzipiell nicht überschritten wird. Eine Statistik der im Becker-Psalter angestrebten Kadenzstufen zeigt, dass sich Schütz zwar an diesen Stufen orientiert, sie aber auch um individuelle Varianten ergänzt. Wer die Sätze näher untersucht, stößt unweigerlich auf wesentliche Differenzen ›duraler‹ und ›mollarer‹ Modi, also solchen mit großer bzw. kleiner Terz über dem Modus-Grundton. Zum einen tritt in ›mollaren‹ Sätzen, vornehmlich im Dorischen und Äolischen, die III. Stufe als Kadenzziel deutlich hervor, während in den ›duralen‹ Sätzen, allen voran im Jonischen, die VI. Stufe weitaus überwiegt. Man kann, modern gesprochen, jeweils eine Präferenz der ›Paralleltonart‹ konstatieren, im späteren ›Dur‹ die VI., in ›Moll‹ die III. Stufe. Zum andern spielt im Jonischen die V. Stufe eine der I. nahezu gleichberechtigte Rolle, so dass ›durale‹ Klänge vorherrschen. In ›mollaren‹ Modi rangiert die III. Stufe (›Paralleltonart‹) weit oben. Im Jonischen existiert eine auf Dur-Stufen zentrierte Abstufung des hexachordalen Gefüges, im Dorischen und Äolischen eher eine Durchmischung der Moll- und Dur-Stufen. Überspitzt formuliert: Jonische Sätze wirken nicht selten wie reines ›Dur‹, dorische oder äolische keineswegs wie reines ›Moll‹ − sie verfügen über den größeren Reichtum an ›Klangfarben‹. Dass es auch in Schütz’ Becker-Psalter weit mehr dorische als äolische Sätze gibt, dafür dürfte vor allem die Kadenzierung zur V. Stufe verantwortlich sein, die im Dorischen problemlos über E-Dur nach a-Moll erfolgen kann, was zur äolischen V. Stufe der fehlenden H-Dur-Stufe wegen zu unterbleiben hat. Noch bei Schütz wird dieser Schritt kaum gewagt. Sein Werk befindet sich in einem Übergang, den erst das 18. Jh. hin zur geregelten Dur-Moll-Tonalität endgültig vollzieht und dabei auch die Schranken zu höherer Vorzeichnung durchbricht. / One of the key issues of the 17th century is the question of how major-minor tonality entered the system of church modes. It was not only in major-minor tonality that 24 “major” and “minor” keys came into being, but already in the church modes, albeit in a fundamentally different guise. The system of church modes revolves around the general use of b-durum (starting from B natural) and b-molle (B flat), not the number of flat or sharp accidentals used from the late Baroque onwards. Schütz’s music was still based entirely on the 24 modes, almost all of which appear in his Becker Psalter, with a clear emphasis on the Dorian and Ionian. While Schütz retains the outer framework of the durum and molle keys, however, he expands it by inserting accidentals extending to A flat, resulting in further transpositions such as C Dorian and B flat Ionian. For tonal classification, the cadential scale degrees aimed for take on central significance: since Zarlino, the traditional “main degrees” I, V and III as primary, secondary and tertiary regulares. In Schütz’s music too, many movements follow this hierarchy. These are sometimes supplemented by further cadential degrees: IV and VI, in exceptional cases also II or VII as irregulares or even peregrinae (“alien” degrees), though the hexachordal framework (hexachords on C and F) remains fundamentally in place. A statistical analysis of the cadential degrees aimed for in the Becker Psalter shows that Schütz takes these degrees as points of reference, but also adds to them with individual variants. If one examines the movements closely, one inevitably encounters considerable differences between durum and molle modes, i.e. those with major or minor thirds above the root note. Firstly, in molle movements, primarily in the Dorian and Aeolian modes, III stands out clearly as a cadential goal, whereas in the durum movements, especially the Ionian ones, VI is obviously predominant. To use modern terms, one could say that each case shows a preference for the “relative key”: in the later “major” it is VI, in “minor” it is III. Secondly, in the Ionian, the fifth degree has almost the same standing as the first, which means that durum harmonies predominate. In molle modes, the third degree (the “relative key”) is very important. In the Ionian, there is a gradation of the hexachordal structure centred on major degrees, while in the Dorian and Aeolian it is more of a mixture of minor and major degrees. To exaggerate a little, Ionian movements not infrequently seem like pure “major”, while Dorian or Aeolian ones are not at all like pure “minor”; the latter have a greater wealth of “tone colours”. The fact that there are far more Dorian than Aeolian movements in Schütz’s Becker Psalter is most likely due to cadences towards the fifth degree, which are easily carried out in the Dorian via E major to A minor, while cadences towards V in the Aeolian are impermissible on account of the missing B major degree. Even Schütz was barely bold enough to take this step. His work is located in a transition to regular major-minor tonality that would only be finally completed in the 18th century, also breaking the barrier to more complex key signatures.

<p dir="ltr">A Human-Machine Interaction (HMI) refers to a mechanism to support the direct interactions of humans and machines with the objective for the synthesis of machine intelligence and autonomy. The demand to advance in this field of study for intelligence controls is continuously growing. Brain-Computer Interface (BCI) is one type of HMIs that utilizes a human brain to enable direct communication of the human subject with a machine. This technology is widely explored in different fields to control external devices using brain signals.</p><p dir="ltr">This thesis is driven by two key observations. The first one is the limited number of Degrees of Freedom (DoF) that existing BCI controls can control in an external device; it becomes necessary to assess the controllability when choosing a control instrument. The second one is the differences of decision spaces of human and machine when both of them try to control an external device. To fill the gaps in these two aspects, there is a need to design an additional functional module that is able to translate the commands issued by human into high-frequency control commands that can be understood by machines. These two aspects has not been investigated thoroughly in literatures.</p><p dir="ltr">This study focuses on training, detecting, and using humans’ intents to control intelligent machines. It uses brain signals which will be trained and detected in form of Electroencephalography (EEG), brain signals will be used to extract and classify human intents. A selected instrument, Emotiv Epoc X, is used for pattern training and recognition based on its controllability and features among other instruments. A functional module is then developed to bridge the gap of frequency differences between human intents and motion commands of machine. A selected robot, TinkerKit Braccio, is then used to illustrate the feasibility of the developed module through fully controlling the robotic arm using human’s intents solely.</p><p dir="ltr">Multiple experiments were done on the prototyped system to prove the feasibility of the proposed model. The accuracy to send each command, and hence the accuracy of the system to extract each intent, exceeded 75%. Then, the feasibility of the proposed model was also tested through controlling the robot to follow pre-defined paths, which was obtained through designing a Graphical-User Interface (GUI). The accuracy of each experiment exceeded 90%, which validated the feasibility of the proposed control model.</p>

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