This research will examine the various techniques of writing stage directions for choreography or dance action within a feature film script. I will discuss and analyse two methodologies for annotating choreography, both developed by experts in dance notation. I will also examine and interpret the observations made by film director, dancer and choreographer Bob Fosse about the purpose and objectives of dance action in feature film scripts. I will examine two case studies of contemporary feature film scripts that contain dance action. The selected scripts are Strictly Ballroom (Australia, 1992) and Flashdance (USA, 1983). These scripts do not use a published system of dance notation to write dance action. I will analyse and investigate the stage directions for choreography and dance action used within both scripts. The exploration of these various approaches to film choreography may form the basis for writing stage directions for choreography or dance action in my own feature length screenplay titled Learning to Dance. As a screenwriter with particular interest in dance I intend to employ dance sequences at different stages throughout my script as a story telling mechanism. It is important to me to be able to clearly communicate and translate choreographic direction into my script in a manner that ensures its eventual interpretation fulfils its original purpose in the story. Therefore I am seeking a methodology for translating and expressing dance sequences in an accurate and concise written form. One key outcome of my research may be the development of a structural and technical framework for providing choreographic direction appropriate to the conventions of screenplay writing. I therefore intend to contribute to the screenwriting field by attempting to develop a framework for providing stage directions for choreography within a film script and then applying this framework within my own screenplay, Learning to Dance. In addition to the study of choreographic notation I will explore the observations made by film theorists such as Adrian Martin, Jerome Delamater, Rick Altman, J.P Telotte and Steve Neal about genres that contain dance action as a defining characteristic. It is my intention to write a screenplay that in part, borrows from the customs and codes of an established genre or subgenre. Therefore my objective is to understand, appreciate and reflect upon the genre the best fits my vision of Learning to Dance. Learning to Dance is the story of Giselle Williams (18) who aspires to be a professional dancer. When Giselle's father is arrested for fraud Giselle is forced to abandon her wealthy surrounds to live and work in one of Melbourne's tough, inner city, high-rise public housing estates. Here Giselle meets her key support roles, Muslim siblings Yasmina (21) a talented belly dancer and her handsome brother and Giselle's future love interest Ali (20) who welcome Giselle into their humble, tight knit and family oriented community.

The Akai EWI4000s is the most recent model of the EWI (Electric Wind Instrument) family, first conceived by Nyle Steiner in the late 1970’s. A relatively young electronic instrument, the EWI lacks a complete, organized publication explaining how to fully utilize its technical and expressive devices. Furthermore, no instructional aid exists to explain the parameters of the Vyzex computer editor used to create and manipulate the onboard sound bank of the EWI4000s. The purpose of this study is to inform the reader of how the EWI4000s came to fruition, to develop a complete technical and expressive method for learning to play the EWI4000s, and to create a musically based manual for using the Vyzex computer editor. Using text, diagrams, and musical examples, the method acquaints the reader with the EWI’s internal and external controls by explaining their functions using musical terms easily understood by the common musician. Additionally, new notation is created to constrain the EWI’s seven-octave range exclusively within the treble clef staff making it easier to compose and read EWI music without excessive clef changes and musical octave markings. The new notation also develops symbols to dictate use of the EWI’s expressive devices such as pitch bend, glissando, octave doubling, and harmonization.

This thesis describe two graphical modeling languages that can be used for specifying the access control setup in most systems that store information in a tree based structure. The Tree-based Access control Modeling Language (TACOMA) is the simplest language that is defined. It is easy to learn and use as it has only 8 symbols and two relations. With this language it is possible to define the exact access control rules for users using a graphical notation. The simplicity of the language do however come at a cost: it is best suited for small or medium sized tasks where the number of users and objects being controlled are limited. To solve the scalability problem a second language is also presented. The Policy Tree-based Access control Modeling Language (PTACOMA) is a policy based version of TACOMA that doubles the number of symbols and relations. While it is harder to learn it scales better to larger tasks. It also allows for distributed specification of access rules where administrators of different domains can be responsible for specifying their own access control rules. Domains can be organized in a hierarchical manner so that administrators on a higher level can create policies that have higher priority and therefor limits what administrators at lower levels can do. The thesis describes the two languages in detail and provides a comparison between them to show the strong and weak points of each language. There is also a detailed case study that shows how the two languages can be used for specifying access control in SNMPv3.

The use of energy methods and variational principles is widespread in many fields of engineering of which structural mechanics and curve and surface design are two prominent examples. In principle many different types of function can be used as possible trial solutions to a given variational problem but where piecewise polynomial behaviour and user controlled cross segment continuity is either required or desirable, B-splines serve as a natural choice. Although there are many examples of the use of B-splines in such situations there is no common thread running through existing formulations that generalises from the one dimensional case through to two and three dimensions. We develop a unified approach to the representation of the minimisation equations for B-spline based functionals in tensor product form and apply these results to solving specific problems in geometric smoothing and finite element analysis using the Rayleigh-Ritz method. We focus on the development of algorithms for the exact computation of the minimisation matrices generated by finding stationary values of functionals involving integrals of squares and products of derivatives, and then use these to seek new variational based solutions to problems in the above fields. By using tensor notation we are able to generalise the methods and the algorithms from curves through to surfaces and volumes. The algorithms developed can be applied to other fields where a variational form of the problem exists and where such tensor product B-spline functions can be specified as potential solutions.

Diss.--Department of English--Uppsala universitet, 2003. / Bibliogr. p. 273-282. Index.

Diss.--Philosophy--New York (NY)--Graduate School of arts and sciences, Columbia Univ., 1995. / Sources et bibliogr. p. 400-421.

Thesis--Philosophie--Los Angeles--Univ. of California, 1994. / Extraits de textes en latin. Bibliogr. p. 250-268.

Texte remanié de: Th. Etat--Tours, 2004. / Bibliogr. p. 273-298.

Texte remanié de: Dissertation--Department of musicology--University of South Africa, 1985. / Bibliogr. p. 323-328.

Thèse de 3e cycle : Sciences de l'éducation : Lyon 2 : 1987. / Titre provenant de l'écran-titre. Bibliogr.