Porosity is expressed through both tangible and abstract means. In this thesis, porosity as an ideology precedes porosity as an architectural proposition. One facet of the ideology involves the permeable nature of thought -- for the designer, it allows for an iterative process where ideas enter and exit the flow of thought as the project develops. From another angle, the ideology of porosity is reflective and relational, providing opportunities for increased awareness within oneself, meaningful connections with fellow users of the space, and moments of harmony with nature. To translate this way of thinking into the built environment, architectural interventions will promote the kinetic permeation of light, movement, sound, air, and program throughout spaces and between thresholds. / Master of Architecture / Porosity is expressed through both tangible and abstract means. In this thesis, porosity as an ideology precedes porosity as an architectural proposition. One facet of the ideology involves the permeable nature of thought -- for the designer, it allows for an iterative process where ideas enter and exit the flow of thought as the project develops. From another angle, the ideology of porosity is reflective and relational, providing opportunities for increased awareness within oneself, meaningful connections with fellow users of the space, and moments of harmony with nature. To translate this way of thinking into the built environment, architectural interventions will promote the kinetic permeation of light, movement, sound, air, and activity throughout spaces and between spatial boundaries.

The purpose of this study was to examine the changing definition of color harmony and to ascertain a general state of understanding of the term. A content analysis method was applied to writings taken in a special sampling technique, selecting for analysis those works regarded as classics in the broad field of color literature.

This study dealt with the perception of dissonance by male, female, freshman and senior music majors. A test was devised which would show that there is a significant difference in dissonance perception between freshman versus senior and male versus female music majors, utilizing specific excerpts from the musical repertoire. Test item analysis was also employed to determine if a significant difference occurs in each excerpt. It was found that certain excerpts show a significant difference while the means of the combined groups do not. This phenomenon was because of relative uncertainty in response between dissonant ("four") and extremely dissonant ("five") excerpts. The conclusions of the study based upon the hypotheses were the following: 1. Four years in a university environment makes a significant difference in a music major's perception of dissonant sounds in music. 2. The sex of the music major causes no significant difference in the perception of dissonance. Male responses were consistent with female responses within the same class.

Four major compositions, written by Richard Strauss between 1940-1948, are illustrative of the composer's conservative use of harmony and tonality. Each work exemplifies a different genre: an opera scene, a programmatic orchestral work, a concerto, and four lieder. The forms and tonal organization in each representative work are traditional. Those forms used are sonata, ternary, a seven-part rondo and, a loosely structured sectional form. They are presented in the final chapter from the most structured form, the concerto, down to the least structured, the opera scene. The harmonies incorporated within each work are conservative in character. The generic categories of sonority types are triads, seventh chords, ninths, elevenths and thirteenth chords. The three overwhelming common chords are major triads, minor triads and major-minor seventh chords. Almost 87% are these three types. There are many similarities In root movement to those used in musIc from the common practice period: up a fourth, up a second, down a third, and up a fifth. However, two non-traditional types are used to some extent. These are down a second and up a third. Modulation types vary and are dependent upon the nature of the work: the chromatic types are associated with chromatic music (Metamorphosen) just as nonchromatic types are common in more traditionally structured music (Oboe Concerto). It is the analysis of these specific elements that help shed light upon the later harmonic style of Richard Strauss.

The common perception of Fiji, which is unique in the South Pacific, is that of an ethnically divided society with the indigenous and immigrant communities often at loggerheads. This perception was heightened by the military coups of 1987, which overthrew the democratically elected government of Dr. Timoci Bavadra because it was perceived as Indian-dominated. Again in 2000, the People's Coalition Government headed by an Indian, Mahendra Chaudhry, was ousted in a civilian coup. Yet Fiji had been genuinely multiethnic for several decades (even centuries) before it became a colony in 1874. From then onwards, however, because of the policies of the colonial government, the society slowly became plural (in Furnivall's classic sense) as the different races were separated in almost every walk of life. Until the 1920s there were hardly any conflicts between Fijians and Indians. From the 1920s, however, the Fijians were taught to be wary of the Indians. After independence in 1970, the Alliance government under Ratu Sir Kamisese Mara followed a policy of multiracialism with the stated aim of bringing the different ethnic groups together in a society where people achieved some degree of integration in terms of a common national identity, while retaining their own separate traditions. But, more than thirty years later, Fiji still remains an ethnically divided society with hardly any integration. My research explores the reason for this failure. My thesis is that the failure arose from the kind of democratic system that the country adopted at independence. That is, the Westminster concept of government and opposition can be problematic in a multiethnic society if political parties are divided on ethnic lines rather than based on political ideologies. Ratu Mara was one Fiji leader who recognized this problem and had said that the confrontational Westminster system is not appropriate in a South Pacific island with a multiracial population. While Stephanie Lawson, Peter Larmour, Futa Helu and others have made some important contribution to this debate, my thesis will focus on an argument put forward by Michael Goldsmith on the role of the opposition, making a distinction between two kinds of pposition, confrontational and thoughtful . This thesis contends that the Westminster system that Fiji adopted at independence failed to bring integration in part because the National Federation Party (NFP) degenerated over the years from a 'thoughtful' and effective opposition to a 'confrontational', ethnic opposition.

Thesis (doctoral)--Universität zu Köln, 1980. / Includes bibliographical references (p. 210-218).

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Stephen Read has done significant work towards clarifying the concepts of harmony, consistency, and conservative extensions as introduced by Prior, Belnap, and Dummett. Read argues that the conservative extension requirement is too stringent. Nonetheless, he develops a formal system in which the negation, though classical, is a conservative extension of the positive fragment, by strengthening the theory of the conditional and allowing multiple conclusions. In this thesis, I will closely examine this system to determine how he achieves this. Read concludes that this result indicates that the true debate between the classicist and the intuitionist is over bivalence. My project is to critically investigate Read’s work on intuitionistic terms, noting the non-intuitionistic moves made to reach this result. If Read’s conclusion is correct, and bivalence is the true source of disagreement between the classicist and intuitionist, then it follows that any disagreement along the way should stem from bivalence. Ultimately I conclude that Read correctly identifies the source of disagreement. With this in mind, I return to Dummett’s philosophy and attempt to show why this conclusion is perfectly in line with the intuitionist’s stance.

The purpose of the study was to determine whether a prototype aural training programme could successfully develop tertiary level aural training skills if face-to-face teaching components were replaced entirely by interactive CD-ROM delivery. Audiation is the ability by which one hears with the eyes (and, by extension, sees with the ears), and the reciprocal nature of listening and reading has long been recognised (Karpinski,2000). According to Allvin (1970), sound-to-sight and sight-to-sound skills can be developed through CAI with an effectiveness equal to face-to-face instruction. It appears that some aural skills assist naturally in the development of other aural skills; Carlsen (1969), for example,suggested that the effect of aural training by instruction generalised to sightsinging ability, while Baggaley (1974) writes in contrast that the ability to discriminate does not necessarily guarantee the ability to recognise and identify. Porter (1977) asserts what is now a generally known fact that one must teach for transfer, rather than to expect transfer to be automatic. A six-semester distance-mode prototype aural training programme was developed at the University of Southern Queensland and delivered to tertiary music students in all states of Australia as well as other countries including New Zealand, Singapore, south-east Asia and the United Kingdom. A pre-test/post-test model assessing three groups (internal, external and control) was applied at the beginning and end of the first semester of the six semester programme. The internal group received face-to-face teaching during the first semester; the external group received tuition via CD-ROM; the control group received no tuition in ear training. The study sought to compare results within and between the three groups in the areas of rhythmic perception, melodic perception, scale/mode recognition and interval recognition during this first semester of the study, and to find correlations between demographic data and test performance. External students achieved higher levels of improvement for all aural acuities than internal students and control group students. The findings indicate that students learning multiple instruments and students learning piano perform aural tasks better than students learning only a vii melody line instrument (including voice) or no instrument. In addition, internal students’ results showed a greater ceiling effect than the externals’, suggesting that the aural perception curriculum itself may need to take into account different individual levels of achievement. Tertiary music schools experiencing funding constraints may be able to re-organise aural tuition practice either to replace or to augment face-to-face classes with external aural training materials,without sacrificing the quality of their instruction.