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.

Pruesse et Ruskey ont trouvé un code Gray pour les idéaux d'un ensemble partiellement ordonné (poset) et un algorithme récursif pour les engendrer. Dans ce mémoire, un algorithme non-récursif qui engendre la même liste d'idéaux est présenté. De plus, plusieurs autres codes Gray classiques majoritairement reliés aux posets et leurs implantations sont étudiés. Plus particulièrement, les codes Gray de Chase et de Ruskey pour les combinaisons, celui de Ruskey et Proskurowski pour les mots de Dyck et celui de Walsh pour les involutions sans point fixe sont étudiés. Le code Gray de Chase est présenté sous forme d'un programme FORTRAN. Vajnovszki et Walsh ont trouvé une implantation plus simple sans en donner une preuve formelle; une telle preuve est présentée dans ce mémoire. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Code Gray, Idéal, Ensemble partiellement ordonné (poset), Extension linéaire, Poset forêt, Algorithme, Non-récursif, Sans-boucle, Temps constant amorti (CAT).

Image registration is the task of aligning two or more images into the same reference frame to compare or distinguish the images. The majority of registration methods deal with registering only two images at a time. Recently, a clustering method that concurrently registers more than two multi-sensor images was proposed, dubbed ensemble clustering. In this thesis, we apply the ensemble clustering method to deformable registration scenario for the first time. Non-rigid deformation is implemented by a FFD model based on B-splines. A regularization term is added to the cost function of the method to limit the topology and degree of the allowable deformations. However, the increased degrees of freedom in the transformations caused the Newton-type optimization process to become ill-conditioned. This made the registration process unstable. We solved this problem by using the matrix approximation afforded by the singular value decomposition (SVD). Experiments showed that the method is successfully applied to non-rigid multi-sensor ensembles and overall yields better registration results than methods that register only 2 images at a time. In addition, we parallelized the ensemble clustering method to accelerate the performance of the method. The parallelization was implemented on GPUs using CUDA (Compute Unified Device Architecture) programming model. The GPU implementation greatly reduced the running time of the method.

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Image registration is the task of aligning two or more images into the same reference frame to compare or distinguish the images. The majority of registration methods deal with registering only two images at a time. Recently, a clustering method that concurrently registers more than two multi-sensor images was proposed, dubbed ensemble clustering. In this thesis, we apply the ensemble clustering method to deformable registration scenario for the first time. Non-rigid deformation is implemented by a FFD model based on B-splines. A regularization term is added to the cost function of the method to limit the topology and degree of the allowable deformations. However, the increased degrees of freedom in the transformations caused the Newton-type optimization process to become ill-conditioned. This made the registration process unstable. We solved this problem by using the matrix approximation afforded by the singular value decomposition (SVD). Experiments showed that the method is successfully applied to non-rigid multi-sensor ensembles and overall yields better registration results than methods that register only 2 images at a time. In addition, we parallelized the ensemble clustering method to accelerate the performance of the method. The parallelization was implemented on GPUs using CUDA (Compute Unified Device Architecture) programming model. The GPU implementation greatly reduced the running time of the method.

<p>Perception arises from sensory inputs detected by peripheral organs and processed in the brain by complex neuronal circuits required for the integration of external information with internal states such as expectation and attention. Stimulus discrimination requires activation of primary sensory areas in the brain, but expectation is traditionally associated with the activation of higher-order brain areas. Sensory information obtained by tactile organs is represented along the primary areas that comprise the trigeminal thalamocortical pathway. In anesthetized animals, neuronal activity in the somatosensory system has been extensively described over the past century. However, it is still unclear how the different thalamocortical structures contribute to active tactile discrimination and represent relevant features of the stimulus. It is also unknown whether expectation modulates tactile representations in these regions. In this dissertation, I investigated neuronal ensemble activity recorded from freely behaving rats performing a whisker-based tactile discrimination t-+ask. Multielectrode arrays were chronically implanted to record simultaneously from the main stages of the trigeminal thalamocortical pathways involved in whisking: the primary somatosensory cortex (S1), the ventral posterior medial nucleus of the thalamus (VPM), the posterior medial complex (POm) and the zona incerta (ZI). In Chapter 1 I describe the behavior of rats performing the tactile discrimination task, which requires animals to associate two different tactile stimuli with two corresponding choices of spatial trajectory in order for reward to be delivered. I found that both cortical and thalamic neurons are dynamically engaged during execution of the task. The data reveal a very complex mosaic of responses comprising single or multiple periods of inhibition and excitation. Thalamocortical activity was modulated during whisker stimulation as well as after stimulus removal, up until reward delivery. To investigate whether reward expectation plays a role in tactile processing at early processing stages, I also recorded neuronal activity from rats performing a freely-rewarded version of the tactile discrimination task. Comparing data from regularly-rewarded and freely-rewarded sessions, I show in chapter 2 that the activity of single neurons in the primary somatosensory thalamocortical loop is strongly modulated by reward expectation. Stimulus-related information coded by primary thalamocortical neurons is high when a correct association between stimulus and response is crucial for reward, but decreases significantly when the association is irrelevant. These results indicate that tactile processing in primary somatosensory areas of the thalamus and cerebral cortex is directly affected by reward expectation.</p> / Dissertation

<p><italic>Tentative Embrace</italic> is a composition in five movements for flute, clarinet, saxophone quartet, vibraphone, piano, string quartet and tape track. The tape track features spoken text and soundscape recordings gathered in and around the Sonoran desert of the Southwestern United States. The text and the soundscape recordings, along with the composed music, are all my own work. </p> <p>This piece embodies my efforts to interpret and translate the complicated sensation of being a human alone in nature - of wanting to belong, realizing I do belong, but also not quite belonging. The Sonoran desert, the site of inspiration for this work, is an especially revelatory space that heightens these simultaneous sensations of connection and disconnection; it draws attention to the biological points of contact between human beings and their natural surroundings, but it also emphasizes those cultural and material differences that we carry with us into such a space. Through the combination of the music, the text and the soundscapes, I work to convey the ever-shifting boundaries between the self and everything else. </p> <p>For the music, I find formal inspiration in the slow and cyclical pace of the desert itself; musical ideas unfold gradually through ever-varying repetitions. Each movement is devoted to a particular phenomenon experienced in the desert, and while the text and the soundscapes work to articulate the specifics of these phenomena, the music gives form to their structural and sensual suggestion. I move back and forth between specifics and abstractions; as such, some of my translations of this space will be more audible than others, but each of them demonstrate this attempt at forging an artistic point of connection with this environment.</p> / Dissertation

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The music for cello duets was first composed in the Baroque period, later it was named the cello choir. Thus, these beginnings of cello choir compositions were primarily relegated to Baroque, with only a few pieces composed until the Romantic period. It was at this point in history that we find that musicians and composers began to develop interest in the unique sound of the cello choir. Since then, a great amount of operas and other musicals have been composed with the featuring of cello choir as a part their soundtrack. As a result, the music of the cello choir has moved forward to a new colorful era, with the nuances of the music branching into various types of associations with various professional playing techniques. Heitor Villa-Lobos is one of the most famous 20th century composers of the Brazil. During his maturation period, his works integrated the Brazilian style as a central theme of his music. The Bachianas Brasileiras, composed in the 1930¡¦s, had great profitable combination of the new-age national music with more traditional forms. In addition, this new trend of music successfully represented both educational and patriotic movements, as it required the uniqueness associated with the profound techniques that established the importance of cello choir in the piece. This study is proposed to discover the valuable information in playing the cello choir music based on analyzing the Bachianas Brasileiras No. 1. The study begins by describing the composer¡¦s life experiences and the background of the period in the 1930¡¦s. The research will emphasize how the Brazilian music has been amalgamated and how to interpret it in order to enhance performance.

Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2009. / For two trumpets and chamber ensemble with electronic sounds. "A dissertation in music composition." Advisor: Paul Rudy. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Dec. 04, 2009. Includes performances notes. Online version of the print edition.