This work is about design, implementation, menu and communication with superior system for gamaspectrometer. The first part of the document describes basic principles of measuring of gamma spectra and their processing. The second part describes in basics software core of the spectrometer, handling of the keyboard, graphic and text output. Used algorithms are described, and their implementation. The third part contains analysis of requirements on menu, basic concepts of menu control. Next, it is described how to handle inputs from user, like numbers, date and time, and also how to solve the menu for display of values and for input of values. The forth part describes requirements for communication with superior system (PC), analyses how to do deal with this and reasons for this solution. The conclusion brings all concepts used in the previous chapters and reached goals.

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With the growth of digital information and technology, more websites require user authentication to access individuals' sensitive information. The main form of authentication are passwords which if chosen unwisely can easily be guessed or cracked by someone else. This is why it is important to create safe yet memorable passwords. The goal of this report was to develop a program that is able to detect commonly used patterns within passwords in order to transform a specified user inputted password into a more secure password without sacrificing the memorability of the original input. This was realized by analyzing lists of common passwords and partaking in a literature study within this field to identify the patterns present within those password lists. Based on the pattern analysis the program could be designed and developed using python to transform a password into three different password classes with differing levels of security and memorability. The password cracking software hashcat as well as online resources were used to estimate the time it would crack each set of passwords to then gain an understanding of the security levels between them. Results show that it is possible to perform password generation without sacrificing too much security while still having the passwords somewhat memorable. / Med framväxten av digital information och teknik kräver fler webbplatser användarautentisering för att få tillgång till individers känsliga information. Den huvudsakliga formen av autentisering är lösenord, och om de väljs oklokt, kan lätt gissas eller knäckas av någon annan. Det är därför det är viktigt att skapa säkra men ändå minnesvärda lösenord. Målet med denna rapport var att utveckla ett program som kan upptäcka vanliga mönster i lösenord för att omvandla ett specifikt användar inmatat lösenord till ett säkrare lösenord utan att offra minnesvärdheten av den ursprungliga inmatningen. Detta förverkligas genom att analysera listor med vanliga lösenord och delta i en litteraturstudie inom detta område för att identifiera mönstren som finns i dessa lösenordslistor. Baserat på mönsteranalysen kunde programmet designas och utvecklas med Python för att omvandla ett lösenord in till tre olika lösenordsklasser med olika nivåer av säkerhet och minnesvärdhet. Mjukvaran ”hashcat” (ett lösenordsåterställningsverktyg) samt resurser från nätet användes för att uppskatta den tid det skulle ta att knäcka varje uppsättning av lösenord för att sedan få en förståelse för säkerhetsnivåerna mellan dem. Resultaten visar att det är möjligt att digitalt generera lösenord utan att offra för mycket säkerhet, samtidigt som lösenorden behåller minnesvärdheten.

Klavierbearbeitungen waren für die Aufführungs- sowie Hörgewohnheiten des nichtprofessionellen Musikers des neunzehnten Jahrhunderts entscheidend. Nicht nur deckten sie den dringenden Bedarf an einer kosteneffektiven musikalischen Verbreitungstechnologie sondern ihre immense Popularität verursachte eine mit großen Umfang kommerzielle musikalische Verlagsindustrie. Diese Dissertation stellt zum ersten Mal die viele Seiten des Klavierarrangements wieder her, indem es als musikalisches Schaffen, als Konsumware und als Objekt vieler kritischen Diskurse analysiert wird. Es wird gezeigt, dass Arrangement---als musikalisches Schaffen---eine Methodensammlung statt einer in sich geschlossenen Technik ist. Walter Benjamins Übersetzungstheorie wird mit einer Analyse der ersten, in dem Robertsbridge Codex aus 1360 sich befindenden, Klavierbearbeitung verbunden, um vorzuschlagen, dass Arrangements als eine Auferstehung ihrer Originale gesehen werden sollen. Die wirtschaftliche Wichtigkeit der Klavierbearbeitung wird durch einer vom Computer errechneten statistischen Analyse dargestellt, indem es gezeigt wird, dass Arrangementmethoden in 30 Prozent der in deutschsprachigen Ländern zwischen 1829 und 1900 publizierten Klaviermusik vorkommt. Die kritischen Diskurse mit denen den Wert eines Arrangements geschätzt wurde werden auch rekonstruiert: Musikalische Lexika werden benutzt, um eine Begriffsgeschichte mehrerer Schlüsselbegriffe zu schreiben. Letztlich werden die Ähnlichkeiten des Hörgewohnheiten der Hörer des neunzehnten und des einundzwanzigsten Jahrhunderts betont, damit neue Forschungsperspektiven eröffnet werden können. / Keyboard arrangement was central to both the performing and the listening habits of the nineteenth-century non-professional musician. Not only did it respond to the desperate need for a cheap technology of musical circulation, but its immense popularity helped create a commercial musical publishing industry of an unprecedented scale. This thesis reconstructs for the first time the many faces of the keyboard arrangement by analysing it simultaneously as a musical work, an economic commodity and the object of a number of critical discourses. As a musical work, arrangement is shown to be a collection of practices, rather than, and as has been previously assumed, a self-contained product. Walter Benjamin''s theory of translation is combined with an analysis of the first extant keyboard arrangement in the Robertsbridge Codex of 1360 to construct a model which suggests that arrangements should be understood as resurrections of the material of their originals. The economic significance of keyboard arrangement is demonstrated through a computer-aided statistical analysis which shows that on average practices of arrangement appeared in 30 percent of the keyboard music published in German-speaking countries from 1829 to 1900. Significant attention is given to an attempt to reconstruct the critical discourses by which arrangements were assessed: in particular, musical dictionaries are used to produce a Begriffsgeschichte of several key terms relating to the production of arrangements. Finally, throughout the thesis, emphasis is placed on the extent to which the kinds of listening experience that arrangement engendered show similarities with those offered by popular musical styles of today, thereby opening up new avenues for research.

There is an increased use of block-based programming environments in K-12 education and computing outreach activities to introduce novices to programming and computational thinking skills. However, despite their appealing design that allows students to focus on concepts rather than syntax, block-based programming by design is inaccessible to people with visual impairments and people who cannot use the mouse. In addition to this inaccessibility, little is known about the instructional experiences of students with visual impairments on current block-based programming environments. This dissertation addresses this gap by (1) investigating the challenges that students with visual impairments face on current block-based programming environments and (2) exploring ways in which we can use the keyboard and the screen reader to create block-based code. Through formal survey and interview studies with teachers of students with visual impairments and students with visual impairments, we identify several challenges faced by students with visual impairments on block-based programming environments. Using the knowledge of these challenges and building on prior work, we explore how to leverage the keyboard and the screen reader to improve the accessibility of block-based programming environments through a prototype of an accessible block-based programming library. In this dissertation, our empirical evaluations demonstrate that people with visual impairments can effectively and efficiently create, edit, and navigate block-based code using the keyboard and screen reader alone. Addressing the inaccessibility of block-based programming environments would allow students with visual impairments to participate in programming and computing activities where these systems are used, thus fostering inclusion and promoting diversity.

During his lifetime, Johann Christian Bach (1739--1782) was considered the most famous musician of the Bach family throughout England and Europe. Although his music was highly regarded in the eighteenth century, little scholarly work has been undertaken on the historical and analytical aspects of his compositions. His keyboard compositions are valuable in tracing his musical development since this was the only genre that he wrote throughout his career in Berlin, Milan and London. Previous analyses of Bach's keyboard music have mainly focused on stylistic development, thus neglecting the importance of phrase and larger formal functions. / I adopt William Caplin's theory of formal functions to analyze Bach's solo keyboard sonatas: the Solo in A minor from Berlin (1750--55), three sonatas from the Milan collection (1755), six sonatas from London Op. 5 (1767), and six sonatas from London Op. 17 (1773--4). I demonstrate that Bach gradually refines phrase and thematic functions of the exposition of first-movement sonatas. I examine Bach's use of core technique and subordinate theme-like units in development sections and discuss the reasoning behind different recapitulation strategies. I also compare the sonata forms of the first movement to the second and third movements, and discuss other types of large-scale formal design (theme and variations, minuet and trio, and rondo). / Many sources indicate that Mozart was greatly influenced by Bach, but they remain vague in describing the type and extent of this influence. Building on previous melodic, motivic and stylistic studies, I draw important phrase-structural connections between the music of Bach and Mozart. I discuss the construction of Mozart's early piano pieces (KV 6 through K 284) and demonstrate that he adopts particular phrase-structural and thematic designs similar to pieces from Bach's Op. 5 and 17 collections. Through form functional analysis, I illustrate Bach's development of phrase and thematic structures and provide important phrase-structural evidence of his influence on the music of Mozart.

Busoni's contribution to the art of the piano transcription is formidable. His chorale prelude transcriptions make him responsible for giving over to the piano repertoire a small portion of sacred literature. His special admiration of J. S. Bach, evidenced throughout his life, make Busoni's transcriptional practices all the more significant. Bach himself was a prolific transcriber of his own works and the works of others. This paper presents a brief history of keyboard transcriptional practices, emphasizing Busoni's methods by comparing the original works for organ with the transcriptions for piano. Four chorale preludes form the basis for this study: Ich ruf' zu dir, Herr Jesu Christ (BWV 639), Komm, Gott, Schopfer, Heiliger Geist (BWV 667), Nun komm' der Heiden Heiland (BWV 659), and In dir ist Freude (BWV 615).

Made available in DSpace on 2016-06-02T19:39:40Z (GMT). No. of bitstreams: 1 5770.pdf: 1251894 bytes, checksum: e1f72fc77515240f14428abf2cbbe05b (MD5) Previous issue date: 2014-02-21 / This present study aims to investigate the Knowledge Base for Teaching of teachers working in the field of Distance Musical Education, specifically in the discipline Keyboard 1 (offered in 2011 and 2012) of the Licenciate Degree in Music Education from UAB-UFSCar. The guiding questions were: 1) How is constituted the Knowledge Base for Teaching of teachers who worked in 2011 and 2012 offers of the Licenciate Degree in Music Education from UAB-UFSCar s discipline Keyboard 1? 2) What skills are specific to the distance mode and how they contributed to the professional development of these teachers? Regarding methodological procedures, this study followed a qualitative, descriptive and analytical approach (BOGDAN; BIKLEN, 1994). Data collection was conducted largely through semistructured interviews. Besides the interviews, we used the analysis of documents. The three participating teachers chosen were selected in the Licenciate Degree in Music Education from UAB-UFSCar, which was the setting of this study, as were teachers who worked in the Keyboard 1 discipline offers, in 2011 and 2012, which was the focus of this research. To analyze the interviews, we used the technique of content analysis, according to Bardin (2009). The theoretical framework used in this research address the following areas: Teacher Training, Distance Education and Music Education. To guide, organize and develop this research, the study was organized into four chapters: 1. Teacher Education, Distance Education and Technology; 2. Licenciate Degree of Music Education from UAB-UFSCar; 3. Methodological approach of the research; 4. Data analysis. Finally, the concluding remarks resumed the main elements of the dissertation, taking as its starting point the two guiding questions in order to subsidize the entire context of the research sought answers through the analyzes in the light of the chosen theoretical framework and finally conclude this study. / O presente trabalho tem como principal objetivo investigar a Base de Conhecimento Docente dos professores que atuam na área de Educação Musical a Distância, especificamente na disciplina Teclado 1 (ofertas de 2011 e 2012) do curso de licenciatura em Educação Musical da UAB-UFSCar. As questões norteadoras foram: 1) Como se constitui a Base de Conhecimento Docente dos professores que atuaram nas ofertas de 2011 e 2012 da disciplina Teclado 1 do curso de licenciatura em Educação Musical da UAB-UFSCar? 2) Que conhecimentos são específicos à modalidade a distância e como estes contribuíram para o desenvolvimento profissional desses professores? Em relação aos procedimentos metodológicos, este trabalho seguiu uma abordagem qualitativa, descritiva e analítica (BOGDAN; BIKLEN, 1994). A coleta de dados foi realizada, em grande parte, por meio de entrevistas semiestruturadas. Além das entrevistas, utilizamos a análise de documentos. Os três professores participantes escolhidos foram selecionados no curso de licenciatura em Educação Musical da UAB-UFSCar, que foi o ambiente desta pesquisa, visto que foram os docentes que atuaram nas ofertas da disciplina Teclado 1, em 2011 e 2012, que foi o foco da presente pesquisa. Para analisar as entrevistas, utilizamos a técnica de análise de conteúdo, de acordo com Bardin (2009). Os referenciais teóricos utilizados nesta pesquisa abordam as seguintes áreas: Formação de Professores, Educação a Distância e Educação Musical. Para orientar, organizar e desenvolver esta pesquisa, o estudo foi organizado em quatro capítulos: 1. Formação de Professores, Educação a Distância e Tecnologias; 2. O curso de licenciatura em Educação Musical da UAB-UFSCar; 3. Percurso metodológico da pesquisa; 4. Análise dos dados. Por fim, nas considerações finais retomamos os principais elementos da dissertação, tendo como ponto de partida as duas questões norteadoras, de modo a subsidiar todo o contexto da pesquisa que procurou respostas por meio das análises realizadas à luz dos referenciais teóricos escolhidos e que concluem finalmente este estudo.

Word prediction has been offered as support for children with spelling difficulties. The literature however has shown wide-ranging results, as the use of word prediction is at the cost of time and fatigue due to increased visual-cognitive demands. Spelling support with word prediction is through word completion, keystroke reduction and the interactive process between spelling and reading. The research project was a cross-over within-subject design using 80 Grade 4 – 6 children with spelling difficulties in a school for special needs. The research task took the form of entering 30 words through an on-screen keyboard, with and without the use of word prediction software. The subjects were divided into four groups, who completed the research task in combinations of one of two equivalent wordlists and the presentation order of the typing method used. The Graded Word Spelling Test, administered before the study began, served to investigate whether there was a relationship between the children’s current spelling knowledge and word prediction efficacy. The results indicated an increase in spelling accuracy with the use of word prediction, but at the cost of time and the tendency to use word approximations, which decreased as grade and age increased. Children’s current spelling knowledge could not serve as an indicator of who would be most likely to benefit from word prediction use. The cross-over design counter-balanced the effects of the inequalities in the two wordlists and the effects of practice and fatigue noted in the presentation order. Further research into the impact that more extensive training and practice would have on word prediction efficacy and the usefulness of word prediction in more functional writing is necessary. / Dissertation (M (Augmentative and Alternative Communication))--University of Pretoria, 2005. / Centre for Augmentative and Alternative Communication (CAAC) / unrestricted

This study aims to provide a critique of Baroque performance practice, with specific reference to the organ Preludes and Fugues of Johann Sebastian Bach. Drawing from the extensive body of literature pertaining to Bach’s keyboard music, a number of relevant issues are explored in so far as these may provide understanding of the manner in which the organ Preludes and Fugues should be performed today. These include: • The notion of Bach’s ‘generic’ keyboard works. Were the generic keyboard works as a whole intended to be performed on more than one keyboard instrument? The instrumental designations given by Bach in these works are a valuable source of information in answering this question. • The type of organ that was known to J.S. Bach and typical registration used in the Baroque, called the plenum. • Identification of the grey area that persists in the interpretation of Bach’s organ works with regard to registration, tempo, rhythm, articulation, phrasing, fingering and ornamentation. This study also engages with the current authenticity debate in musical performance as seen from the modernist and postmodernist points of view. The modernist ideal of authenticity is to “re-create” or “reconstruct” performances of Bach’s music with as much accuracy as the evidence of historical musicologists can provide. For the postmodernist, however, authenticity lies in embracing the human element of contingency in musical performance, along with a thorough grounding of such performance in historical evidence. In aligning itself with the postmodernist point of view, this study ultimately argues that we cannot learn everything there is to know about Baroque performance practice from books. Instead, in addition to historical evidence, we draw much of our understanding in this regard from our innate or tacit levels of knowing. In this regard the scholar of Bach’s organ works can draw valuable lessons from the levels of tacit knowledge of leading organ pedagogues and performers on the subject of Baroque performance practice.