<p>Uppsatsen handlar om hur musiklärare arbetar med bedömning inom ensemblespel. Vad är det som lärarna prioriterar inom bedömningen av musicerande och vilka verktyg och metoder använder sig de av för att kunna göra en bedömning? Har alla musiklärare en gemensam syn på styrdokumenten? Får alla elever en likvärdig bedömning när de musicerar än vilken skola de går på? Jag har använt mig av en kvalitativ studie där jag har intervjuat sex stycken musiklärare om deras uppfattningar kring bedömning av musicerande. Jag har använt mig av hermeneutisk tolkning vid bearbetning av intervjuerna. Resultaten visar att musiklärarna har likheter på vad som ska prioriteras inom bedömning av ensemblespel. Tre stycken av de intervjuade musiklärarna hade slående likheter med varandra, därefter skiljer sig förfarande och verktyg för att bedöma elever mellan de andra musiklärarna. Resultatet diskuteras gentemot styrdokument och vad tidigare forskning har visat. Jag har även diskuterat utifrån mina egna erfarenheter och min blivande roll som lärare. Jag diskuterar även skillnader mellan de intervjuade musiklärarna och likvärdigheten mellan dem samt deras syn på likvärdighet.</p>

<p>The purpose of this thesis is to illustrate the conception of creativity. Observation and interview illustrate teachers´ views of the concept, as well as the use there of. Classes in ensemble and aestethics have been observed. The reason for choosing these two classes is to give the investigator the oppurtunity to observe several students at the same time and it also makes possible for the investigator to observe several instrumentalists´ use of their instruments. Interviews have been conducted with teachers in the observed classes. They have defined and shared their views on the conception of creativity and have also explained how it is practically used.</p><p>The result shows that the teachers´ definition of the conception differs depending on the context in which it is used. The teachers mediateted mainly two forms of creativity. One is the notion that creativity is the interpretation of music, that creativity lies in the expression. The other focuses on the training of creating music, improvising, and composing. The answers in the interviews show that the teachers don´t make a distinction between the two.</p><p>Furthermore, the way the teachers perceive the development of creativity differs. Some say that creativity emerges only when the student has developed certain skills, whereas others claim that creativity is present in different forms throughout the learning process. One perspective explains that everything one does when it comes to music develops ones creativity, whilst an other claims that one can focus only on training one´s creativity. Teachers who prefered the former perspective claimed that performing music, irrespective of musical level, involves interpretation.</p><p>The observations show that when it comes to creativity teachers give students more freedom the further they´ve reached in their musical development. This has little to with students musical products but depends on how far they´ve reached musically</p>

<p>Syftet med denna uppsats har varit att belysa några ensemblemusikers syn på och uppfattning om det sociala samspelet i en musikensemble.</p><p>Vi beskriver ensemblemusikernas syn på det sociala samspelet med utgångspunkt i åtta musikers egna berättelser utifrån de kvalitativa intervjuer vi utfört med dem. Musikerna var alla vid studiens utförande studerande vid en folkhögskola i Mellansverige.</p><p>Den teoretiska utgångspunkten kan närmast knytas till ett sociokulturellt perspektiv, då en grundtanke hos oss är att människan formas och påverkas av den sociala kontext den befinner sig i. Därför var ett grundantagande inför studien att det sociala samspelet i musikensemblen är minst lika viktigt som det musikaliska.</p><p>Sammanfattande kan sägas att samtliga intervjudeltagare - utöver de rent speltekniska färdigheterna - har nämnt de sociala relationerna som helt avgörande för hur samspelet i gruppen skall fungera. I studien växte fyra begrepp fram som utgjorde överordnade kategorier för hur vi sedan diskuterade våra resultat. Dessa fyra begrepp var individens personlighet, gruppmedlemmarnas erfarenheter, de omständigheter som gruppen befinner sig i samt de värderingar som finns inom gruppen.</p>

An important task of information retrieval is to induce classifiers capable of categorizing text documents. The fact that the same document can simultaneously belong to two or more categories is referred by the term multi-label classification (or categorization). Domains of this kind have been encountered in diverse fields even outside information retrieval. This dissertation discusses one challenging aspect of text categorization: the documents (i.e., training examples) are characterized by an extremely large number of features. As a result, many existing machine learning techniques are in such domains prohibitively expensive. This dissertation seeks to reduce these costs significantly. The proposed scheme consists of two steps. The first runs a so-called baseline induction algorithm (BIA) separately on different versions of the data, each time inducing a different subclassifier---more specifically, BIA is run always on the same training documents that are each time described by a different subset of the features. The second step then combines the subclassifiers by a fusion algorithm: when a document is to be classified, each subclassifier outputs a set of class labels accompanied by its confidence in these labels; these outputs are then combined into a single multi-label recommendation. The dissertation investigates a few alternative fusion techniques, including an original one, inspired by the Dempster-Shafer Theory. The main contribution is a mechanism for assigning the mass function to individual labels from subclassifiers. The system's behavior is illustrated on two real-world data sets. As indicated, in each of them the examples are described by thousands of features, and each example is labeled with a subset of classes. Experimental evidence indicates that the method can scale up well and achieves impressive computational savings in exchange for only a modest loss in the classification performance. The fusion method proposed is also shown to be more accurate than other more traditional fusion mechanisms. For a very large multi-label data set, the proposed mechanism not only speeds up the total induction time, but also facilitates the execution of the task on a small computer. The fact that subclassifiers can be constructed independently and more conveniently from small subsets of features provides an avenue for parallel processing that might offer further increase in computational efficiency.

The purpose of this thesis is to illustrate the conception of creativity. Observation and interview illustrate teachers´ views of the concept, as well as the use there of. Classes in ensemble and aestethics have been observed. The reason for choosing these two classes is to give the investigator the oppurtunity to observe several students at the same time and it also makes possible for the investigator to observe several instrumentalists´ use of their instruments. Interviews have been conducted with teachers in the observed classes. They have defined and shared their views on the conception of creativity and have also explained how it is practically used. The result shows that the teachers´ definition of the conception differs depending on the context in which it is used. The teachers mediateted mainly two forms of creativity. One is the notion that creativity is the interpretation of music, that creativity lies in the expression. The other focuses on the training of creating music, improvising, and composing. The answers in the interviews show that the teachers don´t make a distinction between the two. Furthermore, the way the teachers perceive the development of creativity differs. Some say that creativity emerges only when the student has developed certain skills, whereas others claim that creativity is present in different forms throughout the learning process. One perspective explains that everything one does when it comes to music develops ones creativity, whilst an other claims that one can focus only on training one´s creativity. Teachers who prefered the former perspective claimed that performing music, irrespective of musical level, involves interpretation. The observations show that when it comes to creativity teachers give students more freedom the further they´ve reached in their musical development. This has little to with students musical products but depends on how far they´ve reached musically

Syftet med denna uppsats har varit att belysa några ensemblemusikers syn på och uppfattning om det sociala samspelet i en musikensemble. Vi beskriver ensemblemusikernas syn på det sociala samspelet med utgångspunkt i åtta musikers egna berättelser utifrån de kvalitativa intervjuer vi utfört med dem. Musikerna var alla vid studiens utförande studerande vid en folkhögskola i Mellansverige. Den teoretiska utgångspunkten kan närmast knytas till ett sociokulturellt perspektiv, då en grundtanke hos oss är att människan formas och påverkas av den sociala kontext den befinner sig i. Därför var ett grundantagande inför studien att det sociala samspelet i musikensemblen är minst lika viktigt som det musikaliska. Sammanfattande kan sägas att samtliga intervjudeltagare - utöver de rent speltekniska färdigheterna - har nämnt de sociala relationerna som helt avgörande för hur samspelet i gruppen skall fungera. I studien växte fyra begrepp fram som utgjorde överordnade kategorier för hur vi sedan diskuterade våra resultat. Dessa fyra begrepp var individens personlighet, gruppmedlemmarnas erfarenheter, de omständigheter som gruppen befinner sig i samt de värderingar som finns inom gruppen.

Metabolism in cancer cells is adapted to meet the proliferative needs of these cells, with notable changes such as enhanced lactate secretion and glucose uptake rates. In this work, we use the Ensemble Modeling (EM) framework to gain insight and predict potential drug targets for tumor cells. A metabolic network consisting of 58 reactions is considered which accounts for glycolysis, the pentose phosphate pathway, lipid metabolism, amino acid metabolism, and includes allosteric regulation. Experimentally measured metabolite concentrations are used for developing the ensemble of models along with information on established drug targets. The resulting models predicted transaldolase (TALA) and succinate-CoA ligase (SUCOAS1m) to display a significant reduction in growth rate when repressed relative to currently known drug targets. Furthermore, the synergetic repression of transaldolase and glycine hydroxymethyltransferase (GHMT2r) showed a three fold decrease in growth rate compared to the repression of single enzyme targets.

Metabolism in cancer cells is adapted to meet the proliferative needs of these cells, with notable changes such as enhanced lactate secretion and glucose uptake rates. In this work, we use the Ensemble Modeling (EM) framework to gain insight and predict potential drug targets for tumor cells. A metabolic network consisting of 58 reactions is considered which accounts for glycolysis, the pentose phosphate pathway, lipid metabolism, amino acid metabolism, and includes allosteric regulation. Experimentally measured metabolite concentrations are used for developing the ensemble of models along with information on established drug targets. The resulting models predicted transaldolase (TALA) and succinate-CoA ligase (SUCOAS1m) to display a significant reduction in growth rate when repressed relative to currently known drug targets. Furthermore, the synergetic repression of transaldolase and glycine hydroxymethyltransferase (GHMT2r) showed a three fold decrease in growth rate compared to the repression of single enzyme targets.

The purpose of the study is to observe how the participants of the study interacted musically through verbal, non-verbal and musically resonant expressions. Verbal communication was expressed in discussion of the music's tempo and to clarify for ensemble participants from where they we’re going to play and sing. Non-verbal communication could be used to gesticulate an instrument or a melody. For example, the movement of a hand could symbolize notes on a musical stave to indicate the notes placements. The non-verbal communication could also be seen through facial expressions such as smiling, or grimacing to show different emotions. Musically sounding interaction could be expressed as when ensemble members played music together in a single pulse, and could initiate a common activity. Even though we often mention the different expressivity types as if they occurred on different occasions and with no connection whatsoever, they often overlapped.

Soit un $f(X)$ un polynôme à coefficients rationnels, $S$ un ensemble infini du nombres rationnels. Soit $f(S)$ l' ensemble image de $f(X)$ sur $S$. Si $g(X)$ est un polynôme telle que $f(S)=g(S)$ on dit que $g$ parametrise l'ensemble $f(S)$. En plus de la solution $g=f$ on peut imposer autre conditions sur le polynôme $g$; par example, si $f(S)\subset\Z$, on peut se demander si il y a un polynôme à coefficients entiers que parametrise l'ensemble $f(S)$. De plus, si l'image $f(S)$ est parametrisé par un polynôme $g$, on peut demander si il y a de relations entre les polynômes $f$ et $g$. Par example, si $h$ est un polynôme linéaire et on pose $g=f\circ h$, évidemment le polynôme $g$ parametrise l'ensemble $f(\Q)$. Réciproquement, si nous avons que $f(\Q)=g(\Q)$ (ou aussi $f(\Z)=g(\Z)$) alors par le théorème d'irréductibilité de Hilbert il y a un polynôme linéaire $h$ telle que $g=f\circ h$. Donc, si $g$ est un polynôme que parametrise l'ensemble $f(S)$, pour un ensemble infinie de nombres rationnels, nous nous demandons si il y a un polynôme $h$ telle que $f=g\circ h$. Il y a de théorèmes par Kubota que donnons de réponses positif sous certain conditions. Le but de ce thèse est l'étude de certain aspects de cet deux problèmes lié à la parametrisation de les ensembles image de polynômes.