This case study investigated the polyphonic discourse in a beginning secondary school mathematics classroom in Trinidad. It relates how classroom and research interview ‘talk’ contributed to students’, their teacher’s and the researcher’s developing conceptions of mathematics, themselves and each other. The study is approached from dialogical and socio-constructivist orientations. Students and their teacher professed a diverse set of prior conceptions of mathematics which included viewing mathematics as rule based with a problem solving orientation and emphasizing attention to the teacher. Several cases are reported that describe the authoritative elements which included a well defined structure to lessons mirroring the textbook, ‘cloze’ questions, and a reliance on rules and absent historical referents as justifications for mathematical activities and substitution for mathematical reasoning. Student and teacher questions and their desire to understand, however, served to interrupt the monological discourse. What was internally persuasive for students was the relational competency of their teacher as well as the communicative acts of their peers. Students’ responses to pedagogy were internally persuasive for the teacher and precipitated ideological assessment. Both discourse types contributed to the formation of individual as well as social identities. Student and teacher utterances were internally persuasive for the researcher. I recommend that research needs to attend more meaningfully to what is internally persuasive for students and teachers in mathematics teaching and learning. In addition I theorize on the need for a dialogical relationship between dialogue and pedagogy that is attentive to the ambiguities in communication.

Thesis (Ph. D.)--University of North Carolina, 1975. / Typescript. "An edition of all the chansons that seem to be Appenzeller's comprises Appendix I." Leaf viii lacking. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [552]-572) and index.

Thesis (Ph. D.)--North Texas State University, 1970. / Vita. Typescript. Vol. 2 contains transcriptions of songs. Includes bibliographical references (v. 1, leaves 495-527).

No description available.

We show, by internal analysis of the texts and references to other contemporary texts, that from 1470 to 1550 the French polyphonic chanson reveals more than ever before a strong tendency to pertain to the "popular" and its related categories, the "carnavalesque" and the "grotesque". From a corpus of close to a thousand popular chansons selected according to the courtly and "good life" "registers", we can assert that, in spite of the essentially learned dimension of polyphonic music, it is the textual component that seems to be popular. This is what indicates the study of their carnavalesque images and the analysis of the grotesque structures of the "cris", the combinative chansons, the "caquets" and the "fricassees", the latter proving to be real crossroads where chansons of the time parade. Our theoretical reflections on the notion of "popular", necessary to justify the use of the concept in a corpus whose texts are usually anonymous, prompts us to both avoid source studies and issues of production and reception, by defining the "popular" as an aesthetic category based on stylistic and rhetorical conventions. In this perspective, the principal characteristic of these chansons consists in the omnipresence of the imperative calls to the participation in the "good life", all of which belong to a popular version of the carpe diem. While a type of carnavalesque chanson accumulates the motifs "dansons", "chansons" and "buvons", many constitute often obscene variants of "baisez-moi", and others multiply military orders. The occurrences of these imperative motifs, usually appearing in direct discourse, confirm, with partially imperative imprecations, a vocabulary of the public place, onomatopeia and plays on words, the orality of the register and its belonging to a popular level of discourse corresponding to a less elevated style than the low style of rhetoric.

Yes / The ‘Polyphonic Organisation’ is an emerging root-metaphor for the multiple voices that constitute an organisation. In this article, we explore the narrative concept of the ‘chronotope’ as a feature of the ‘polyphonic organisation’. The ‘chronotope’, in a general sense, refers to the matrix of time-space-value in organisations. We argue that the chronotope is important because it introduces boundaries between voices within organisations and helps to explain the difficulties in getting to dialogue with voices in different spaces in the ‘Polyphonic Organisation’. More particularly, there are multiple kinds of chronotopes which lead to different kinds of time-spaces matrices within the polyphonic organisation. Our aim is to examine chronotope crossings within polyphonic organisations as part of the work of being heard. This is a theoretical argument drawing significantly from Bakhtin’s work on chronotope. To examine the argument in practice we draw on original fieldwork within the comedy industry. Here we found three kinds of chronotopes: 1) The comedy-offense boundary; 2) The commissioning landscape 3) Platform spaces. We also found that moving within and between these involved a variety of adventures in experience (such as hope and disappointment), which also have their own specific chronotopes. Overall, we argue that the polyphonic organisation is significantly enhanced as an organisational concept through a turn to the role of chronotope. This is because chronotope helpfully describes the barriers and porous boundaries between voices

No description available.

This study aimed to develop a real time multiple fundamental frequency detection algorithm for real time pitch to MIDI conversion applications. The algorithm described here uses neural network classifiers to make classifications in order to define a chord pattern (combination of multiple fundamental frequencies). The first classification uses a binary decision tree that determines the root note (first note) in a combination of notes; this is achieved through a neural network binary classifier. For each leaf of the binary tree, each classifier determines the frequency group of the root note (low or high frequency) until only two frequencies are left to choose from. The second classifier determines the amount of polyphony, or number of notes played. This classifier is designed in the same fashion as the first, using a binary tree made up of neural network classifiers. The third classifier classifies the chord pattern that has been played. The chord classifier is chosen based on the root note and amount of polyphony, the first two classifiers constrain the third classifier to chords containing only a specific root not and a set polyphony. This allows for the classifier to be more focused and of a higher accuracy. To further increase accuracy, an error correction scheme was devised based on repetitive coding, a technique that holds out multiple frames and compares them in order to detect and correct errors. Repetitive coding significantly increases the classifiers accuracy; it was found that holding out three frames was suitable for real-time operation in terms of throughput, though holding out more frames further increases accuracy it was not suitable real time operation. The algorithm was tested on a common embedded platform, which through benchmarking showed the algorithm was well suited for real time operation.

Thesis (Ph. D.)--University of Rochester, 1959. / Appendix B: "Printed collections containing lieder ... masses, motets, or odes by Senfl", leaves 222-224. Vol. 2: The lieder. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/5172

Thesis (M.A.). / Written for the Dept. of Theory, Faculty of Music. Title from title page of PDF (viewed 2008/08/04). Includes bibliographical references.