This study examines the effects of cross–media advertising on audience attitudes. An experiment was created that simulated every day media encounters: reading a magazine, watching television, and listening to the radio. A test advertisement was inserted into the experiment. After completion, participants were questioned on their recall, attitude toward the advertisement, attitude toward the brand, and purchase intention. In total, 1848 individuals were surveyed. From this, inferences about multiple media sequencing effects and repetition were made. The findings have value to researchers and practitioners.

The principal research question of this study is framed as: Do prevailing, industrially and politically sourced definitions of Digital Exhibition faithfully represent the phenomenon's position within the contemporary media theory framework? Within this work Digital Exhibition is defined as: The practice of presenting moving images, either live or pre-recorded, to paying audiences, in public spaces, by means of digital distribution and projection. The majority of established literatures concerning Digital Exhibition are aimed at producing categorical definitions of the phenomenon. These 'meaning making' discourses commonly stem from potentially ideologically affected sources. To address this issue, the author has investigated the political economy of key commentators, and Digital Exhibition has been impartially researched following a 'case studies' methodology; with an analytical framework based upon a series of 'plausible rival hypotheses'. These hypotheses include that Digital Exhibitionism is: • a form of the cinema • a form of television • a new (new media) medium • multiple media • not a medium. It is presented that each investigated hypothesis can be argued to be legitimate when employing established media theories as the means of rationalisation. Nevertheless, the author concludes that individual industrially/politically charged definitions still do not provide an adequately comprehensive account as to the wealth of interpretations that can be drawn for Digital Exhibition. The author also presents his own perspective as to the subjective nature of contemporary media taxonomies, and ultimately proposes that Digital Exhibition is not a medium, but is a designation offered to a subjectively defined collection of events made possible through the transmission of computational binary pulse signals.

The principal research question of this study is framed as: Do prevailing, industrially and politically sourced definitions of Digital Exhibition faithfully represent the phenomenon¿s position within the contemporary media theory framework? Within this work Digital Exhibition is defined as: The practice of presenting moving images, either live or pre-recorded, to paying audiences, in public spaces, by means of digital distribution and projection. The majority of established literatures concerning Digital Exhibition are aimed at producing categorical definitions of the phenomenon. These ¿meaning making¿ discourses commonly stem from potentially ideologically affected sources. To address this issue, the author has investigated the political economy of key commentators, and Digital Exhibition has been impartially researched following a ¿case studies¿ methodology; with an analytical framework based upon a series of ¿plausible rival hypotheses¿. These hypotheses include that Digital Exhibition isM ¿ a form of the cinema ¿ a form of television ¿ a new (new media) medium ¿ multiple media ¿ not a medium It is presented that each investigated hypothesis can be argued to be legitimate when employing established media theories as the means of rationalisation. Nevertheless, the author concludes that individual industrially / politically charged definitions still do not provide an adequately comprehensive account as to the wealth of interpretations that can be drawn for Digital Exhibition. The author also presents his own perspective as to the subjective nature of contemporary media taxonomies, and ultimately proposes that Digital Exhibition is not a medium, but is a designation offered to a subjectively defined collection of events made possible through the transmission of computational binary pulse signals.

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This research concerns the design of a multiple-media study package for sight-singing and how national standards for sight-singing can be realised by using this study package. Sight-singing is a skill which can be of great value for singers, choristers and other musicians. Unfortunately this skill has been sadly neglected in South African schools. The result is that a great percentage of society (and in particular, choristers) is not able to read music and then sing it. The researchers is responsible for sight-singing tuition at the Drakensberg Boys’ Choir School, which is the only choir school in South Africa. The ages of new choristers vary from 9 to 13 years and there is a considerable variation in their music backgrounds. It is therefore essential that every learner can work at his own pace to master sight-singing. The author did research on this subject to compile a sight-singing programme which will enable learners to reach a high standard of sight-singing while progressing at their own pace. By making a study of relevant literature, the author gathered information on sight-singing, reading, communication, educational media as well as Outcomes-Based Education and instructional design. The author formulated criteria for a sight-singing programme and for the use of educational media in such a programme. These criteria are used to evaluate seven different sight-singing programmes. The evaluation indicated to the researcher how other authors approached the subject. He identified the strong and weak points of every programme. The researcher designed a multiple-media study package for sight-singing according to Dick and Carey’s systems approach model for designing instruction (1996). The study package consists of a workbook, a textbook and two audio CDs. The author did action research by using the study package to teach sight-singing to the new choristers at the Drakensberg Boys’ Choir School. Various problems in the study package became clear while using it for teaching. The study package was amended a number of times to eliminate the shortcomings. This research indicates that sight-singing is not only possible when a competent teacher is present. Students can learn sight-singing independently by using a multiple-media programme. / Thesis (DMus)--University of Pretoria, 2005. / Music / unrestricted