Würzburg, Univ., Diss., 2005. / Erscheinungsjahr an der Haupttitelstelle: 2003

There is a significant increase in demand for rapid laboratory medical diagnoses for various ailments in order for clinicians to make informed medical decisions and prescribe the correct medication within a limited specified time. Since no further informed action can be taken on the patient until the laboratory report reaches the clinician, the delivery of the report to the clinician becomes a critical path in the value chain of the laboratory testing process. The National Health Laboratory Service (NHLS) currently delivers lab results in three ways: via a physical paper report, and electronically through a web application. The third alternative is for short and high-priority test results, like human immunodeficiency virus (HIV) and tuberculosis (TB), that are delivered via short message service (SMS) printers in remote rural clinics. However, despite its inefficiencies, the paper report remains the most commonly used method. As turnaround times for basic and critical laboratory tests remain a great challenge for NHLS to meet the specified targets; there is need to shift method of final delivery from paper to a paperless secured electronic result delivery system. Accordingly, the recently-implemented centralised TrakCare Lab laboratory information system (LIS) makes provision for delivery of electronic results via a web application, 'TrakCarewebview'. However, the uptake of TrakCarewebview has been very low due to the cumbersomeness of the application; this web application takes users through nine steps to obtain the results and is not designed for mobile devices. In addition, its access in remote rural health care facilities is a great challenge because of lack of supportive infrastructure. There is therefore an obvious gap and considerable potential in diagnostic result delivery system that calls for an immediate action to design and development of a less complex, cost effective and usable mobile application, for electronic delivery of laboratory results. After obtaining research ethics clearance approval from the University’s Faculty of Science Research Ethics Committee a research was sanctioned. A survey of public sector clinicians across South Africa indicated that 98% have access to the internet through smartphones, and 93% of the clinicians indicated that they would use their mobile devices to access electronic laboratory results. A significant number of clinicians believe that the use of a mobile application in health facilities will improve patient care. This belief, therefore, set a strong basis for designing and developing a mobile application for laboratory results. The study aims to design and develop a mobile application prototype that can demonstrate the capability of delivering electronic laboratory test results to clinicians on their smart devices, via a usable mobile application. The design of the mobile application prototype was driven by user-centred design (UCD) principles in order to develop an effective design. Core and critical to the process is the design step which establishes the user requirements specifications that meet the user expectations. The study substantiated the importance of the design aspect as the initial critical step in obtaining a good final product. The prototype was developed through an iterative process alternating prototype development and evaluation. The development iterations consisted of a single paper prototyping iteration followed by further two iterations using an interactive Justinmind prototyping tool. Respective to the development iterations, cognitive walk-through and heuristic principles were used to evaluate the usability of the initial prototype. The final prototype was then evaluated using the system usability scale (SUS) survey quantitative tool, which determines the effectiveness and perceived usability of the application. The application scored an average SUS score of 77, which is significantly above the average acceptable SUS score of 68. The standard SUS measurement deems 80 to be an excellent score. Yet a score below 68 is considered below average. The evaluation was conducted by the potential user group which was involved in the initial design process. The ability of the interactive prototyping tool (Justinmind) to mimic the actual final product offered end users a feel of the actual product thus giving the outcome of the evaluation a strong basis to develop the actual product.

Os Sei solo â Violino senza Baßo accompagnato de Johann Sebastian Bach (BWV 1001-1006) têm sido transcritos para violão em movimentos isolados desde o final do século XIX e a transcrição (1934) da grandiosa Ciaccona pelo espanhol Andrés Segovia (1893-1987) tornou-se uma peça central no repertório para violão, sobretudo porque que a escrita para violino sofreu um redimensionamento na adaptação do violonista. Por outro lado, as abordagens do ciclo completo no violão têm se aproximado cada vez mais da escrita original para violino. Kazuhito Yamashita (1989), autor da primeira gravação do ciclo completo no violão, se mostra ainda influenciado pela prática segoviana de transcrição, mas Frank Bungarten (1988 - Sonatas/2000 - Partitas) chega a rechaçar a transcrição BWV 1006a, em que o próprio compositor adiciona baixos e preenchimentos harmônicos; Elliot Fisk (2001) segue o exemplo de Bungarten, realizando linhas de baixo apenas ocasionalmente e Timo Korhonen (2009- 2010) leva esse tipo de abordagem ao ápice, não fazendo adição alguma. Contrariando a tendência atual, a única referência coeva que temos de J. S. Bach tocando seus solos de violino é ao clavicórdio, adicionando quanta harmonia ele julgasse necessário, segundo seu aluno Johann Friedrich Agricola. Transcrições dele e de seus contemporâneos nos mostram que a prática de transcrição sempre envolvia a modificação da escrita original para violino tendendo uma maior elaboração polifônica da obra segundo os recursos da nova instrumentação (normalmente teclado ou alaúde). Ao se transcrever os Sei solo para o violão, a prática da época revela que uma pretensa fidelidade ao texto original é tão equivocada do ponto de vista estilístico quanto seria a versão de Segovia se essa fosse julgada fora dos padrões de sua época. Por outro lado, há gravações parciais dos Sei solo ao violão que seguem em maior ou menor grau as práticas de transcrição e de execução barrocas, além de várias gravações do ciclo completo por alaudistas e cravistas que não hesitam em transfigurar a textura original da escrita para violino, para a adequação da escrita aos seus instrumentos. O presente estudo visa estabelecer os fundamentos de uma prática de transcrição para violão dos Sei solo com base nas técnicas de transcrição e de execução do período da composição sem a pretensão de autenticidade ou fidelidade, mas como fonte de recursos de instrumentação (pela reelaboração da textura polifônica com adições de linhas de baixo e preenchimentos harmônicos) e de expressão (pela adaptação de recursos estilísticos essenciais como as articulações e os ornamentos). Em segunda instância, o estudo apresenta uma nova transcrição para violão dos Sei solo como exemplo de aplicação dos fundamentos de adaptação dessas obras. / The Sei solo â Violino senza Baßo accompagnato by Johann Sebastian Bach (BWV 1001-1006) have been arranged for guitar as isolated movements since the end of the 19th century and the transcription (1934) of the great Ciaccona made by the Spaniard Andrés Segovia (1893-1987) became a central work on the repertory, mainly for he remodeled the violin writing when adapting it for guitar. In the other hand, more recent approaches of the cycle have been became progressively simpler and closer to the original writing for violin. The first recording of the cycle on guitar, made by Kazuhito Yamashita (1989), still shows influences of Segovia, but Frank Bungarten (1988 - Sonatas/2000 - Partitas) rejects even Bach\'s own transcription of the 3rd Partia, BWV 1006a, where the composer adds bass lines and harmonies; Elliot Fisk (2001) follows Bungarten\'s example, with few bass additions; Timo Korhonen (2009-2010) goes further and does not add any notes, relying just on the violin score. In opposition to today\'s tendency on guitar, the only reference we to Bach himself playing the violin Solos is on the clavichord, adding as much harmony as he considered necessary, as reports his student Johann Friedrich Agricola. Bach\'s and his contemporaries\' arrangements clearly show us that the change of the medium in a composition (usually violin or cello) always involved the modification of the original writing, generally having more polyphonic elaboration after the resources of the new instrument (normally keyboard or lute). The period\'s practice reveals that an intentioned fidelity to the original musical text in a guitar arrangement is as misplaced as it would be the Segovia\'s version when judged by today\'s standards. In the other hand, there are partial recordings of the Sei solo on the guitar that seek to follow the baroque\'s arrangement and performance practices. There are also several recordings of the whole cycle made by lute and harpsichord players that do not hesitated about changing the original writing for violin in order to adequate the works for their instruments. The present study aims to establish the adaptation principles of the Sei solo for guitar based on period\'s arrangement and performance practices with no pretention of reaching neither authenticity nor fidelity, but simply as instrumentation resources (when rewriting of polyphonic texture with additions of bass lines and harmonies) and expression resources (when adapting stylistic essentials like articulations and ornaments). The secondary purpose of this research is to exemplify an application of the adaptation principles by presenting a new arrangement of the Sei solo for guitar.

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Thesis (Ph. D.)--Columbia University, 1999. / Includes bibliographical references.