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Bakgrund: Operationer kan pågå under många timmar där instrumenten inte är täckta med steril duk och är utsatta för partiklar som finns i luften på operationssalen. Dessa instrument byts inte ut eftersom det inte finns några riktlinjer eller rutiner på detta. Syfte: Undersöka antal CFU på instrumentborden från uppdukning till att operationsingreppet är avslutad. Samt undersöka sambandet mellan antal bakterier och antal personer, antal dörröppningar, personalens klädsel och den tid som blodagarplattorna har varit framme. Metod: Kvantitativ observationsstudie med indirekt och direkt observation. Mätningarna har gjorts med tre stycken blodagarplattor av storlek 14 centimeter i diameter på ett sjukhus i Mellansverige. Observationer har även gjorts på antal personer, dörröppningar, personalens klädsel. Resultat: Resultatet visar att det finns en tydlig ökning av CFU desto längre tiden går. Blodagarplattor C har ett signifikant högre antal CFU än blodagarplattor A (p= 0,018) samt mot blodagarplattor B (p = 0,00). Den bakterien som förekom på flest blodagarplattor var KNS. Antal personer som fanns på operationssalen har en påverkan på antal CFU som fanns på blodagarplatta C (p=0,047). Däremot fanns inget samband mellan antal dörröppningar, personalens klädsel och antal CFU på blodagarplattorna. Slutsats: Studien visar en tydlig ökning av CFU desto längre tiden går. På samma sätt kan vi anta att det som har hamnat på plattorna även har hamnat på instrumenten samt material under observationstiden.

Thèse diffusée initialement dans le cadre d'un projet pilote des Presses de l'Université de Montréal/Centre d'édition numérique UdeM (1997-2008) avec l'autorisation de l'auteur.

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The writer has examined the performance practices of the positive, portative, and regal organs in both the sacred and secular genre. Throughout the research the aspect of the prominent position of the church and its dogmatic practices were demonstrated to be highly influential in the usage of the organ. Church accounts of payments to various organ builders are the principal source of the information concerning the liturgical function and organ placement within the church. The secular aspect of the performance practices of the small organs was dominated by the religious dramatic mystery and miracle presentations and the various court entertainments. The utilization of the organ in both the sacred and secular genres was an important link in the lessening of the church's dominance over the people of the time.The development of musical styles and the progressive accumulation of construction and acoustical properties was directly proportional to the development and evolution of these small, organs. The span of the three centuries analyzed in the thesis were the most critical years in this process of evolvement.The vocal and instrumental forms were explored in regard to the function of the organ as a solo or ensemble member. Specific circumstances of employment have been investigated as to the nature and the probable organ model indicated for a specific performance situation.In addition, the thesis has analyzed prominent composers, performers, and writers whose contributions were influential during their lifetime and in the course of music performance practices in general. / School of Music

Gunther Schuller is presently one of America's most influential music personalities. As one colleague of Schuller's at the New England Conservatory has written, "In many ways, Gunther Schuller is a modern incarnation of the renaissance man, with his interests and abilities flowing from him like ripples in a pond."1 Schuller, in his six decades, has been one of the nation's first-rate orchestral horn players and has participated in the instrument's introduction into the jazz medium; his interest in musicological research has encompassed the study of various types of music and resulted in Early Jazz: Its Roots and Musical Development, 2 considered by some to be "the definitive musicological treatment of jazz history . . ..”3 Schuller is also recognized as a leading contemporary composer and conductor, former composition instructor and long-time artistic co-director of the annual summer Tanglewood Festival, and teacher, authority, and author on horn playing.The dissertation traces Schuller's varied career, giving particular attention to his phenomenal success as a virtuoso of the French horn by age seventeen. The study also details his development as a composer, concentrating primarily on his compositional style as revealed in the works for horn as a solo and chamber music instrument. Among the works discussed are the horn concertos, the woodwind suite and brass quintet, Lines and Contrasts for sixteen horns, and Five Pieces for Five Horns. Included in the discussion is his unpublished and virtually unknown first Horn Concerto, which was written (and performed only once) by the composer while he was first horn in the Cincinnati Symphony. For the research, a copy of the manuscript was provided by the composer. (To date, the only published remnant is an arrangement of the second movement entitled Nocturne for horn and piano.)The dissertation examines Schuller's ideas concerning the "art" of modern horn playing through a discussion of his writings (Horn Technique), his musical studies (Studies for Unaccompanied Horn and Duets for Unaccompanied Horns), and through the observations of colleagues and former students. Fortunately, some of Schuller's well-articulated thoughts on musicianship in general and horn playing specifically have been retained in the tapes of the Sixth Annual International Horn Workshop, held at Ball State University in 1974. These are transcribed and included in the Appendix.In summary, the research is in three major sections. The first deals with biographical information-- Schuller's various careers, a survey of his compositions and writings, and a discussion and evaluation of his playing career based on information from his colleagues, recordings, and reviews. Section two examines the composer’s style and his influence on the instrument’s technique through a detailed study of the solo and chamber works for horn. Part three concerns his pedagogical and philosophical ideas regarding music education, with particular attention to the horn and horn playing.1. Frank Battisti, "Gunther Schuller and His Many Worlds of Music," The Instrumentalist, XXXII (June, 1978), p. 39.2. Gunther Schuller, Early Jazz: Its Roots and Musical Development, (New York: Oxford University Press), 1968.3. Robert Palmer, "Gunther Schuller: On the American Musical Melting Pot," Downbeat, XLIII (Feb. 12, 1976), 12.

The purpose of this study was to determine the effects of instructing beginning violin students in the initial lessons with long bow-strokes as compared to short bow-strokes in terms of production of a different level of tone quality, bowing problems encountered, and length of bow-strokes typically used.There were sixteen fifth- and sixth-grade subjects in the study sample: nine in the experimental group and seven in the control group. The subjects were of average intelligence and were from lower or lower-middle socio-economic levels of a midwestern town. Subjects in both groups were taught in like manner by the same instructor except for instructions on how to draw the bow in the initial lessons. The nine students in the experimental group were taught to use long bow-stroke: in the initial lessons; the seven students in the control group were taught to use short bow-strokes in the middle area of the bow in the initial lessons.Because none of the subjects had previously received violin lessons, there was no pretest. The Gaston Test of Musicality and the Lorge-Thorndike Intelligence Tests were utilized as covariates in the study. After sixteen weeks of instruction, the subjects were administered a posttest of tone quality consisting of three melodies of different levels of difficulty performed two times for a total of six replications. The tone quality samples were arranged in random order on an edited tape and evaluated by four judges. During the posttest, the researcher evaluated the typical length of bow stroke used by subjects. Bowing problems encountered during the study were also reported by the researcher.Statistical processing of the data consisted of a five-way partial hierarchical analysis of covariance using intelligence test scores and musicality test scores as covariates. A 2 x 2 x 3 x 4 design was employed with the independent variables being the method of instruction, the performance of each melody, the level of difficulty of melodies performed, the judges, and the subjects nested within methods Factors and interactions were tested by the F ratio at the .05 level of confidence.The study was designed to answer one null hypothesis and two research questions. The null hypothesis was as follows:1. After sixteen weeks of instruction, there will be no significant difference in the tone quality of beginning violin students employing the long bow-stroke approach in the initial lessons as compared to students employing the short bow-stroke approach.The research questions were as follows:After sixteen weeks of instruction, does the beginning violin student who is taught by the long bow-stroke approach actually use longer bow-strokes than does the student taught by the short bow-stroke approach?Does the beginning violin student who is taught by the long bow-stroke approach experience more bowing problems than does the student taught by the short bow-stroke approach:The null hypothesis was accepted and the two research questions were answered affirmatively. Review of the data led to the following conclusions:There was no significant difference in the tone quality of the two groups after sixteen weeks of instruction. It could be inferred that the experimental group produced a more consistent level of tone quality at this stage of development.Forty-four percent of the experimental group developed the use of long bow-strokes by the conclusion of the study as compared to fourteen percent of the control group. The mean length bow-stroke of the experimental group was also substantially greater than the mean length bow-stroke of the control group.Three students in the experimental group encountered four bowing problems while one student in the control group encountered one bowing problem. The circular bowing problem, which is difficult to correct, was encountered by two subjects in the experimental group. Students trained by the long bow-stroke approach encountered substantially more bowing problems than students trained by the short bow-stroke approach. However, there did not appear to be a relationship between length of bow-stroke used by individuals after sixteen weeks of study and encountering bowing problems.Neither method of instruction was clearly superior. The level of tone quality resulting from the two methods of instruction was not significantly different. The long bow-stroke approach resulted in the development of longer bow strokes and a more consistent level of tone quality but resulted in more bowing problems. The short bow-stroke approach resulted in the development of shorter bow strokes but resulted in fewer bowing problems.

The increasing world population is putting pressure on global food production. Agriculture must meet these growing demands by increasing crop yields. One phenomenon which prevents seedling emergence and damages crop yield is soil crusting. Understanding of soil crusting and the factors which influence it is fundamental to ensuring good crop production. An instrument which will test soil crust strength in a novel way, mimicking seedling growth, may lead to pre-emptive agricultural soil management which could increase crop production. This work details the process of design, construction and testing of an ascending penetrometer to measure soil crust strength. The full design process is discussed from concept generation and evaluation, using experimental methods and a multi-criteria decision making tool, through to final design configuration, specification, manufacture and testing. Traditionally, soil penetrometers measure soil strength by forcing a probe from the surface of the soil into the bulk soil below. To more accurately measure the direct impedance a seedling would experience a device should measure impedance from the bulk soil upwards and into the soil crust, mimicking what a growing seedling would experience. Results prove that the manufactured ascending penetrometer with a force resolution of 0.01N and displacement resolution of 0.0004mm is capable of detecting differences in soil crusts. At these resolutions and accuracy to 0.1N and 0.1mm excellent repeatability was achieved. The machine is therefore a useful and realistic tool for quantitatively comparing soil crusts in soil. It is hoped that being able to compare soil crust strength will lead to improved soil management techniques.

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