In today’s world, ontologies are being widely used for data integration tasks and solving information heterogeneity problems on the web because of their capability in providing explicit meaning to the information. The growing need to resolve the heterogeneities between different information systems within a domain of interest has led to the rapid development of individual ontologies by different organizations. These ontologies designed for a particular task could be a unique representation of their project needs. Thus, integrating distributed and heterogeneous ontologies by finding semantic correspondences between their concepts has become the key point to achieve interoperability among different representations. In this thesis, an advanced instance-based ontology matching algorithm has been proposed to enable data integration tasks in ocean sensor networks, whose data are highly heterogeneous in syntax, structure, and semantics. This provides a solution to the ontology mapping problem in such systems based on machine-learning methods and string-based methods.

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<p>In the first part of this thesis we present a C++ implementation of an improved O(n log n) algorithm to compute runs, number of primitively rooted distinct squares, and maximal repetitions, based on Crochemore's partitioning algorithm. This is a joint work with Mei Jiang and extends her work on the problem. In the second part we present a C++ implementation of a linear algorithm to compute runs based on the Main's, and Kolpakov and Kucherov's algorithms following the strategy:</p> <p>1. Compute suffix array and LCP array in linear time;</p> <p>2. Using the suffix array and LCP array, compute Lempel-Ziv factorization in linear time;</p> <p>3. Using the Lempel-Ziv factorization, compute in linear time some of the runs that include all the leftmost runs following Main's algorithm;</p> <p>4. Using Kolpakov and Kucherov's approach, compute in linear time the rest of all the runs.</p> <p>For our linear time implementation, we partially relied on Jonathan Fischer's Java implementation.</p> / Master of Science (MSc)

Extended piano techniques, which mainly involve playing directly on the internal components of the piano, emerged early in the twentieth century, mainly in the United States. Henry Cowell (1897-1965) explored some of these techniques in short piano pieces such as The Tides of Manaunaun (1917; clusters) The Banshee (1925; glissando, pizzicato) and Sinister Resonance (1930; mute, harmonic). Several contemporary composers followed this path. Notably, George Crumb's (b. 1929) mature works combine conventional techniques with an unprecedented variety of extended techniques, including vocal and percussive effects. Although extended techniques are no longer a novelty, most pianists are still unfamiliar with them. Extended piano works are rarely performed or taught. This situation is regrettable considering the quality of these compositions, and the great potential of extended techniques to expand the piano's coloristic resources. A Pedagogical Guide to Extended Piano Techniques is designed to help pianists learn this idiom and achieve fluency. Teachers may also find it useful in planning courses at the undergraduate college level. Chapters 1 and 2 provide general information such as the development and classification of unconventional techniques, and the construction of the grand piano. Chapters 3, 4 and 5 form the core of the monograph. They contain practical exercises, composed by the author, presented in a progressive order and accompanied by detailed instructions explaining how to execute and practice each technique. From a technical point of view, natural string piano techniques--pizzicatos, glissandos, mutes and harmonics--are the basis upon which most other extended techniques are founded. Therefore, this document focuses mainly on mastering these string techniques through the acquisition of two important skills: visual techniques and aural-motor coordination. The following topics are also discussed: use of foreign objects inside the piano, percussive technique, vocal effects, and strategies to integrate various techniques into a unified musical context. Prepared piano techniques are excluded because they do not require the acquisition of performance skills, which form the essence of this monograph. Chapter 6 provides a suggested course schedule to organize the pianist's study and practice time, and offers practical advice for the preparation of performances involving extended piano techniques. It is hoped that this document will play a positive role in helping pianists gain the knowledge, ability, confidence and enthusiasm to explore and perform extended piano repertoire. / Music Performance