Cruise missile mission planning is a key activity of cruise missile operations. Ground planning activities aim at low observable missions that have high probability of success. These activities include end game planning, route planning and launch planning. While end game planning tries to optimize end game parameters for maximum effectiveness, route planning tries to maximize survivability and enable navigational supports by determining the waypoints to from launch zone to target through a defended area. And lastly, planner tries to find the appropriate launch parameters that will prohibit platform to contact enemy agents. Mission rehearsal is the execution of the planned mission in a virtual environment that will be constructed with the data that drives the planning process. Mission rehearsal will support planners by providing possible results of the planned mission. Stochastic processes of the execution of the planned mission will be incorporated in the simulation of the combat. Along with platform, cruise missile and target, other players like SAM Sites or Search Radars (Early Warning Radars) will be incorporated in the rehearsal process.

Despite the interest in and importance of producing high quality choral performance, the question "How is superior performance produced?" has not been addressed in a holistic and naturalistic way. A synthesis of previous research findings suggests that a combination of actions, interactions, relationships, and conditions produce superior choral performance. Yet a holistic examination of this multi-faceted production process has not been conducted. In order to identify all factors contributing to the production of superior performance and how these factors work together, I comprehensively examined an extreme case of superior performance. This extreme case of superior performance was one high school, mixed choir who had performed at a national ACDA convention on three different occasions. This choir had consistently earned state superior ratings and top awards in many competitions. Through grounded theory analysis of over 34 hours of interview data, three and one-half days of observation, examination of material culture and field notes, and analysis of survey data, I purposed to discover how this choir produced superior performance. Results of my study indicated that a combination of choral performers' beliefs, values, characteristics, actions, and interactions produced superior performance. As the core explanation of the production of superior performance, the common beliefs and values of the director and his singers promoted and activated actions and interactions that produced superior performance. Choral performers (i.e., director and singers) strongly believed in and valued hard work, diligence, excellence, success, caring, responsibility, and the music. These beliefs and values powerfully determined their identity and the quality of their performance. The director's motivational strategies and expert technical pedagogy also provided explanation for how the choir produced superior performance. The director's musicianship and musical pedagogy powerfully motivated singers. The director's musicianship inspired singers to increasingly greater performance heights. Singers' love for the music and their convictions for producing aesthetically, expressive performance, grew as they learned about and experienced the intermingling of musical and textual devices. Of lesser importance to the production of superior performance was the director's expert technical pedagogy. Through technical pedagogy, singers learned to perform with precision. Through the director's motivational strategies, musicianship, and musical and technical pedagogy, singers learned the actions and interactions necessary for the production of superior performance. Performers' beliefs and values interacting with the motivational strategies of the director propelled singers into achieving these actions and interactions and determined the intensity with which they performed. The results of this investigation suggest examination into the effects of motivation, musicianship, and musical pedagogy on large ensemble performance quality. Results also suggest the need for investigation into the choral performers' beliefs and values and how they may impact the rehearsal and the quality of performance.

This study investigated the incorporation of student video production into Year 7 science classes and determined associated learning benefits. Availability of digital cameras and movie editing software make student in-class video production a possibility. However, the introduction of technology into classrooms often precedes an understanding of its effective utilisation. While the science classroom was ideal to utilise the audio/visual benefits of video production, a framework to streamline and guide students’ production was needed to ensure productive learning. The writing-to-learn in science model (Prain & Hand, 1996a) and Science Writing Heuristic (Hand & Keys, 1999) were selected to fulfil this role. The adaptation of the writing-to-learn in science model to include video production as a text type coincided with a call from Prain (2006) to extend research to determine the influence of “new technology-mediated, multimodal learning environments” (p. 79) on students’ science learning. Two intact Year 7 classes conducted the same science investigation following the writing-to-learn in science model, one class (Yr 7A, N = 21) used digital video to record and report their findings while the other class (Yr 7B, N = 22) used a traditional method of poster making. Students worked in mixed gender and ability groups of three. Data instruments included pretest, posttest, delayed posttest, a repeated question instruments, and content analysis of the students’ final products. Two groups from each class were video tracked throughout their investigations and were later interviewed. Video data were transcribed and analysed to determine patterns of learning behaviour. This study showed that video production fits comfortably into the writing-to-learn in science framework. Making videos in science delivered learning advantages through the audio/visual nature of video production and the learning behaviours the production process elicited. The nature of video, as a visual and oral medium, allowed students to capture their science investigations accurately and then continue to manipulate the content through reviewing and editing. Through video production, students demonstrated heightened awareness of, and responsibility for, the learning of their audience that led to rehearsal of science concepts before filming. Data analysis revealed that video students collaborated, used higher order thinking, and engaged in the underlying scientific concepts more than the poster makers. This study is significant as it explores in a science classroom context, an emerging technology, already widely utilised in students’ out-of-school lives. Science educators are calling for the broadening of what constitutes a scientific text, the greater inclusion and manipulation of multi-modal representations for science students, and an increased emphasis on socio-communicative approaches to science learning. Additionally, incorporation of technology and associated means of learning, authentic to many students’ out-of-school lives, is advocated for the classroom. Student video production in science answers these calls. It achieves this while delivering unique learning benefits that add significantly to student attainment in science. Video production is playing a greater role in acquisition and dissemination of science knowledge. The use of video production in science and society would seem destined to increase exponentially. This study has investigated one application of the use of video production in a middle years science class, however the implications for further research are vast as the technology develops, the societal usage increases, and the scientific applications of video production become more powerful and widespread.

Thesis (M.A.)--Miami University, Dept. of Theatre, 2005. / Title from first page of PDF document. Document formatted into pages; contains [1], iii, 41 p. Includes bibliographical references (p. 36-41).

Ce travail s’attache à identifier et à décrire les principaux processus, outils et concepts de la mise en scène théâtrale shakespearienne à partir de l’étude d’environ 200 spectacles créés en France, Angleterre, Allemagne, Italie ou Espagne après 1945. Un premier mouvement présente le contexte historique de la mise en scène de Shakespeare et les filiations et influences artistiques qui s’y développent, pour voir en quoi elles conditionnent les créations individuelles. Le deuxième mouvement décrit différents aspects de la notion de matériau shakespearien pour en montrer la richesse et la pertinence dans la pratique théâtrale, et pose l’hypothèse d’une analogie forte entre les caractéristiques de ce matériau et celles de la mise en scène en général. Le troisième mouvement s’intéresse au rapport entre interprétation de la pièce et conception du spectacle, et aux différents phénomènes de projection qui permettent de passer de la dimension imaginaire du spectacle à sa matérialisation scénique. Le quatrième mouvement pénètre la dynamique de la répétition et la décrit à partir de trois de ses modalités, rehearsal, Probe et répétition, qui fonctionnent à la fois conjointement et sur des régimes propres. Le large éventail de techniques et de points de vue artistiques explorés montre le potentiel multiple des approches pour chacun des processus de fabrication du spectacle, et permet enfin de tracer les contours d’une théorie globale de la mise en scène unissant tous ces processus dans une dynamique qui se déploie nécessairement sur plusieurs niveaux de façon simultanée, comme l’énergie du matériau shakespearien. / This works seeks to identify and describe the key processes, tools and concepts of the theatrical mise en scène of Shakespeare from the study of about 200 different productions in France, England, Germany, Italy and Spain after 1945.The first movement presents the historical context of the staging of Shakespeare and the artistic filiations and influences that exist in it, to see how they condition the individual creativity. The second movement describes different aspects of the notion of Shakespearean material to show his power and relevance in theatrical practice, and assumes there is a strong analogy between the characteristics of this material and those of the mise en scène in general . The third movement is interested in the relationship between interpretation of the play and conception of the production, and in the various phenomena of projection that transform the imaginary dimension of the play in its stage realization. The fourth movement enters the dynamics of rehearsal and describe them using three concepts, rehearsal, Probe, and répétition, which work together but each with its own regime.The wide range of technical and artistic points of view exposed show the multiple potential of possible approaches to each of the process of the mise en scène, and finally allows to outline a comprehensive theory of the staging unifying all these processes in a dynamic that necessarily develops in several levels simultaneously connected, just as in the Shakespearean material.

A pesquisa discute o processo de criação teatral, a partir de uma pesquisa empírica, tendo como mote a noção de intermedialidade. Para desenvolver essa investigação foram realizados dois experimentos cênicos curtos, intitulados Dispositivo Linha e Dispositivo Bolha. Estes dispositivos de prática cênica são estruturados a partir do conceito de intermedialidade, e de princípios de criação relacionados a esse conceito. Seus princípios foram articulados a partir de referências de práticas cênicas, como os ciclos RSVP e Repère e fundamentos do devinsing e environmental theater. Os processos de exploração prática tinham como foco a criação de material e composição de cenas intermediais, convocando uma reflexão sobre procedimentos de planejamento de ensaio do diretor de teatro. Os experimentos são analisados a partir do diário da pesquisadora, dos registros em vídeo, e das timelines, produzidas como parte da prática dos encontros. O estudo permite uma análise dos métodos, tanto técnicos quanto humanos, empregados no desenvolvimento destes processos de criação de uma cena intermedial. / The research discusses the theatrical creative process, from an empirical research, having as motif the notion of intermediality. To develop this investigation, two short scenical experiments are conducted, entitled Device Line and Device Bubble. These stagecraft devices are structured based on the concept of intermediality and creative principles related to this concept. This concept and its principles are articulated according to scenic practices such as RSVP and Repère cycles and fundamentals of devinsing and environmental theater. The practical exploration processes are focused on creating material and composition of intermedial scenes, demanding a reflection on theater director's planning procedures. These experiments are analyzed through materials such as the reseacher’s daily, video recordings and timelines, which is produced as part of the meetings practices. The study allows an analysis of the methods, both technical and human, employed in those proceedings to create a intermedial scene.

A technique for altering subjects' self-evaluations and subsequent performance was developed and tested. Two types of therapist evaluative modeling, positive and critical, were compared, for effectiveness in training subjects to be assertive, with a no-modeling control and an insight treatment group. All modeling conditions used a behavior rehearsal paradigm, while the insight treatment employed a Rogerian therapy design. Dependent measures included a paper-and-pencil self-evaluation scale and a behavioral role-playing test of assertiveness. No significant differences were found among the modeling conditions, but the behavior rehearsal strategy brought about significantly greater increases in assertiveness among the severely unassertive subjects than did the insight treatment.

abstract: This study seeks to identify the unwritten rules and standards of professional conduct followed by the music community. Its central source of information is a pair of surveys sent to professional musicians, specifically members of large instrumental ensembles across the United States. The first survey posed multiple-choice questions on topics related to personal professional standards, rehearsal and concert etiquette and protocol, and ethical obligations. The second survey followed up with consenting individual participants and requested stories and anecdotes from the respondents’ professional careers. The surveys yielded 70 responses from the initial 350 solicitations, representing 35 professional ensembles in 30 cities and 20 states, 18 different instruments, 41 principal players, and nearly 2,000 combined years of professional music experience. The findings shed light on many specific aspects of professionalism in the music community, and they demonstrate that an unwritten code of largely understood and observed expectations both exists and varies minimally throughout professional ensembles across the United States. The consummate professional musician is prompt, prepared, and observant of an array of expectations generated by the routines and hierarchies of rehearsals and concerts. Understanding the professional attributes and practices of successful ensemble members is important to aspiring musicians, and so this study is intended as a useful resource both for students and their teachers. / Dissertation/Thesis / Doctoral Dissertation Music 2016

A pesquisa discute o processo de criação teatral, a partir de uma pesquisa empírica, tendo como mote a noção de intermedialidade. Para desenvolver essa investigação foram realizados dois experimentos cênicos curtos, intitulados Dispositivo Linha e Dispositivo Bolha. Estes dispositivos de prática cênica são estruturados a partir do conceito de intermedialidade, e de princípios de criação relacionados a esse conceito. Seus princípios foram articulados a partir de referências de práticas cênicas, como os ciclos RSVP e Repère e fundamentos do devinsing e environmental theater. Os processos de exploração prática tinham como foco a criação de material e composição de cenas intermediais, convocando uma reflexão sobre procedimentos de planejamento de ensaio do diretor de teatro. Os experimentos são analisados a partir do diário da pesquisadora, dos registros em vídeo, e das timelines, produzidas como parte da prática dos encontros. O estudo permite uma análise dos métodos, tanto técnicos quanto humanos, empregados no desenvolvimento destes processos de criação de uma cena intermedial. / The research discusses the theatrical creative process, from an empirical research, having as motif the notion of intermediality. To develop this investigation, two short scenical experiments are conducted, entitled Device Line and Device Bubble. These stagecraft devices are structured based on the concept of intermediality and creative principles related to this concept. This concept and its principles are articulated according to scenic practices such as RSVP and Repère cycles and fundamentals of devinsing and environmental theater. The practical exploration processes are focused on creating material and composition of intermedial scenes, demanding a reflection on theater director's planning procedures. These experiments are analyzed through materials such as the reseacher’s daily, video recordings and timelines, which is produced as part of the meetings practices. The study allows an analysis of the methods, both technical and human, employed in those proceedings to create a intermedial scene.

A pesquisa discute o processo de criação teatral, a partir de uma pesquisa empírica, tendo como mote a noção de intermedialidade. Para desenvolver essa investigação foram realizados dois experimentos cênicos curtos, intitulados Dispositivo Linha e Dispositivo Bolha. Estes dispositivos de prática cênica são estruturados a partir do conceito de intermedialidade, e de princípios de criação relacionados a esse conceito. Seus princípios foram articulados a partir de referências de práticas cênicas, como os ciclos RSVP e Repère e fundamentos do devinsing e environmental theater. Os processos de exploração prática tinham como foco a criação de material e composição de cenas intermediais, convocando uma reflexão sobre procedimentos de planejamento de ensaio do diretor de teatro. Os experimentos são analisados a partir do diário da pesquisadora, dos registros em vídeo, e das timelines, produzidas como parte da prática dos encontros. O estudo permite uma análise dos métodos, tanto técnicos quanto humanos, empregados no desenvolvimento destes processos de criação de uma cena intermedial. / The research discusses the theatrical creative process, from an empirical research, having as motif the notion of intermediality. To develop this investigation, two short scenical experiments are conducted, entitled Device Line and Device Bubble. These stagecraft devices are structured based on the concept of intermediality and creative principles related to this concept. This concept and its principles are articulated according to scenic practices such as RSVP and Repère cycles and fundamentals of devinsing and environmental theater. The practical exploration processes are focused on creating material and composition of intermedial scenes, demanding a reflection on theater director's planning procedures. These experiments are analyzed through materials such as the reseacher’s daily, video recordings and timelines, which is produced as part of the meetings practices. The study allows an analysis of the methods, both technical and human, employed in those proceedings to create a intermedial scene.