I denna studie undersöker jag hur rytmläsning och rytmnotation gestaltar sig för instrumentlärare. För att nå studiens syfte gjordes kvalitativa intervjuer med lärare i olika instrument: två pianolärare, två gitarrlärare, en blåsinstrumentlärare och en slagverkslärare. Resultatet visar att instrumentlärarna använder kroppen, rösten och rytmkort som hjälpmedel för att träna på rytmläsning med nybörjarelever. När det handlar om elever på en mer avancerad nivå utrycker lärarna att rytmerna lärs ut på gehör. Nedskrivning av rytm var inte något som lärarna lade stor vikt på i. I diskussionen analyseras resultatet ur ett sociokulturellt perspektiv där informanternas svar och val av metoder diskuteras i förhållande till ålder, instrument och sammanhang de undervisar i.

Datorer och mobiltelefonerna är idag allestädes närvarande i skolan och elever, lärare eller skolledning funderar sällan på hur detta påverkar lärandet. Den större delen av den tidigare forskningen visar att med ökad mobiltelefonanvändning kommer försämrade skolresultat. Kemididaktiken innebär ofta att hjärnans spatiala och mer visuella förmågor behövs i kemin och där är den handskrivna anteckningen bättre än anteckningen på tangentbord. Syftet med detta examensarbete var att undersöka om frånvaro av dator och mobiltelefon, kan förbättra elevers lärande i kemi, mätt i deras förmåga att prestera på kemiprov. Dessa elevers resultat på kemiproven jämfördes med en kontrollgrupp som hade med sig datorer och mobiltelefonen i klassrummet. Jag valde positivismen kvantitativa ansats tillsammans med Karl Poppers kritiska rationalismen till den vetenskapsteori ur vilket perspektiv jag analyserade undersökningens resultat. Metoden som användes var kvantitativ analys där de två olika gruppernas provresultat på 4 olika kemiprov jämfördes statistiskt med ett Students t-test. Resultat: Students t-test visade att där inte fanns någon skillnad mellan grupperna; t(120) = 1,98, p = 0,19. En subgruppsanalys gjordes på gruppen med svagare elever, alltså elever som före undersökningen presterat sämre i kemi och Students t-test visade att inte heller här fanns någon skillnad mellan grupperna; t(56) = 2,00, p = 0,11. Medelpoängen för hela gruppen med datorer och mobiltelefoner blev 12,4 poäng och de utan 14,4 poäng. Medelpoängen för subgruppen med de svaga eleverna, blev för gruppen med datorer och mobiltelefoner 7,2 poäng och gruppen utan 9,8 poäng. Slutsatsen blev att mobiltelefonen är en för gymnasieeleven essentiell del av livet och mobiltelefonen bär eleven alltid med sig, ibland även om man vill hjälpa sin kemilärare att ta examen och bli en legitimerad lärare genom att deltaga i hans undersökning.

Though the field of dramaturgy is growing in size and scope in professional theatre, there are relatively few universities or colleges that offer undergraduate or graduate degrees in basic dramaturgical theory and practice. Brigham Young University (BYU) is an ideal setting for the development of such a program. There is a close community within and surrounding the university; the Theatre and Media Arts Department has high pedagogical expectations; and the Theatre program provides multiple opportunities for theatrical production. I saw these qualities as an invitation to develop a dramaturgy emphasis for undergraduate students that would allow them to network with the community and build intellectual skills that could be integrated into artistic performance. In order to create this emphasis, courses and protocol needed to be developed in order to establish a model dramaturgical procedure for undergraduate training. In this thesis, I address the following issues:

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<p>  </p> <p>Extensive evidence supports the effectiveness of retrieval practice as a powerful method for promoting long-term learning. For students to obtain the maximum benefit from retrieval practice they need to incorporate the strategy into their study routines as a learning tool that is used early and often. Unfortunately, many students avoid retrieval practice and instead rely primarily on less effective learning strategies such as rereading, and existing interventions that encourage students to practice retrieval are rare. Given this troubling gap in the literature, this dissertation sought to create and experimentally evaluate a novel intervention that attempted to improve students’ evaluations of and increase their willingness to use retrieval practice. </p> <p>In two experiments, the Pilot Study and Experiment 1, students studied a list of Lithuanian-English translations and completed two retrieval practice activities. The control retrieval practice activity prompted students to retrieve only difficult translations, whereas the high note retrieval practice activity prompted students to retrieve the same number of difficult translations but ended with additional trials that were normatively less difficult. Students preferred the high note retrieval practice activity over the shorter retrieval practice activity that had a more difficult ending, which suggests that existing retrieval practice activities can be improved by crafting endings that afford more opportunities for successful retrieval. Experiment 2 demonstrated that ending a retrieval practice activity on a high note could encourage students to choose retrieval practice over restudying for a subsequent learning activity. Experiment 3 replicated the findings from Experiment 2 and extended the results to a new type of material that is common in educational settings—general knowledge questions (i.e., fact learning). Finally, Experiment 4 investigated whether the preference for the high note retrieval practice activity found in the previous experiments was driven by the placement of the moderately difficult items at the end of the activity.</p> <p>Overall, this dissertation provides yet another demonstration that most students choose to avoid retrieval practice during learning. However, creating retrieval practice activities that had less difficult endings successfully improved students’ evaluations of and increased their willingness to use retrieval practice. These results have important implications for understanding and overcoming the barriers that prevent students from practicing retrieval.</p>

Note sequence morphing is the combination of two note sequences to create a ‘hybrid transition’, or ‘morph’. The morph is a ‘hybrid’ in the sense that it exhibits properties of both sequences. The morph is also a ‘transition’, in that it can segue between them. An automated and interactive approach allows manipulation in realtime by users who may control the relative influence of source or target and the transition length. The techniques that were developed through this research were designed particularly for popular genres of predominantly instrumental electronic music which I will refer to collectively as Mainstream Electronic Music (MEM). The research has potential for application within contexts such as computer games, multimedia, live electronic music, interactive installations and accessible music or “music therapy”. Musical themes in computer games and multimedia can morph adaptively in response to parameters in realtime. Morphing can be used by electronic music producers as an alternative to mixing in live performance. Interactive installations and accessible music devices can utilise morphing algorithms to enable expressive control over the music through simple interface components. I have developed a software application called LEMorpheus which consists of software infrastructure for morphing and three alternative note sequence morphing algorithms: parametric morphing, probabilistic morphing and evolutionary morphing. Parametric morphing involves converting the source and target into continuous envelopes, interpolation, and converting the interpolated envelopes back into note sequences. Probabilistic morphing involves converting the source and target into probability matrices and seeding them on recent output to generate the next note. Evolutionary morphing involves iteratively mutating the source into multiple possible candidates and selecting those which are judged as more similar to the target, until the target is reached. I formally evaluated the probabilistic morphing algorithm by extracting qualitative feedback from participants in a live electronic music situation, benchmarked against a live, professional DJ. The probabilistic algorithm was competitive, being favoured particularly for long morphs. The evolutionary morphing algorithm was formally evaluated using an online questionnaire, benchmarked against a human composer/producer. For particular samples, the morphing algorithm was competitive and occasionally seen as innovative; however, the morphs created by the human composer typically received more positive feedback, due to coherent, large scale structural changes, as opposed to the forced continuity of the morphing software.

Increasing involvement with students at the University of Namibia has indicated their overall difficulty with comprehending and recalling information from oral content lectures. It has also been observed that in general very little attention is given to the development of listening skills in L2 ESP and EAP courses. For this study, I conducted a quasi-experiment to determine whether the recognition and interpretation of discourse markers will enhance students' listening comprehension in academic lectures. Students were tested to determine their comprehension of content information in a video-taped lecture. Qualitative data were collected by means of a questionnaire. After an intervention period of eight weeks, where the experimental group received strategy training in the recognition and interpretation of discourse markers in spoken texts, both groups were again tested. Their results were statistically compared. I also looked at related findings of other researchers. Finally, aspects for possible future research will also be considered. / English Studies / MA - (Specialisation in TESOL)

目前中國大陸金融市場伴隨著經濟體日趨成熟與影響力的情形之下，已逐漸開放，結構型理財產品多元化發展，使中國大陸的衍生性商品市場越趨活躍，相繼陸續開放承作各類型的金融商品，金融市場更加完備。不論是發行商或是投資人，皆應更深入了解結構型理財產品，才有助於中國大陸衍生性商品市場的拓展。 本文針對中國大陸金融市場上已發行的股票掛鈎型與利率掛鈎型的結構型理財產品進行個案評價與風險分析，第一個評價個案為「追蹤能源類股股權掛鈎結構型理財產品」，以封閉解作為評價基礎，並採用蒙地卡羅法模擬本商品的提前到期機率；第二個評價個案為「每日計息雙區間可贖回結構型理財產品」，採用BGM模型進行評價，並利用最小平方蒙地卡羅模擬法，考慮發行商提前贖回條款並計算每一期的配息；分別對兩個個案進行評價，針對評價結果分析發行商的利潤與避險策略，並給予投資人投資與避險的建議。

本文分別評價了中國大陸地區發行之利率結構型商品及股權結構型商品，並針對其風險及條款設計進行分析。文中所選的利率結構型商品為「每日計息利率連動理財產品」，在對數常態遠期LIBOR模型的假設下，我們先利用市場報價校準參數化之波動度及相關係數函數，再使用最小平方法蒙地卡羅模擬利率路徑，以處理此商品的提前贖回條件；為了產生非標準期間之遠期LIBOR利率，在模擬過程中加入了Brigo和Mercurio(2006)提到的漂移項插補法。另一個股權結構型商品為「人民幣A股多資產連結理財產品」，由於此商品連結標的多達五個，本文中使用風險中立下股價的動態過程，以及蒙地卡羅模擬來求算其合理價格。此外，針對這兩個商品所需要注意的風險，本文皆提出了建議。

隨著低利率時代的來臨，投資人不能再從定存或證券中獲取高報酬率，在另一方面，許多的結構型商品相繼出現，如高收益票券、投資型定存、投資型保單等，打著高收益的稱號來吸引市場上的投資人購買。但是許多投資人持有負面的見解，認為此種商品並非無風險，甚至時常出現血本無歸的情形，究竟投資人如何在眾多商品中選擇出最有利的商品？另外，近年來金融業的商品朝向國際化與多元化發展，但是國內銀行及券商能夠承作金融商品創新及設計有限，不僅無法滿足國內投資人，對於證券商與銀行業來說也有不利的影響，因此健全結構型商品的發展才能使得金融業，證券商與一般投資人三贏的局面。 / 本文分別評價了ING銀行發行之利率結構型商品及元大證券之股權結構型商品，並針對其風險及條款設計進行分析。文中所選的利率結構型商品為「ING五年期目標贖回連動債券」，在對數常態遠期LIBOR模型的假設下，我們先利用市場報價校準參數化之波動度及相關係數函數，再使用最小平方法蒙地卡羅模擬利率路徑，以處理此商品的提前贖回條件。另一個股權結構型商品為「「絕對保富」結構型商品」，由於此商品連結標的多達三個，本文中使用風險中立下股價的動態過程，以及蒙地卡羅模擬來求算其合理價格。此外，針對這兩個商品所需要注意的風險，本文皆提出了建議。