Missionaries, music and method - dissemination of tonic sol-fa in Asia-Pacific countries during the nineteenth century

The Tonic Sol-fa method of teaching choral singing and its system of music notation was developed in England by John Curwen and propagated throughout the British Isles as a means of both enhancing Christian worship and achieving social reform. Tonic Sol-fa may be identified as an entirely foreign musical practice introduced to indigenous people in many British colonies and in other overseas countries during the nineteenth century as an instrument of Christian evangelism as well as of European cultural imposition. Nevertheless, indigenous communities were introduced to other aspects of European musical culture including a choral repertoire consisting of four-part hymnody and masterworks by Handel, Bach, Mozart, etc which sometimes resulted in the emergence of a school of indigenous composers writing in Tonic Sol-fa notation and using the tonal harmonic style. The result has been that in several countries-such as South Africa and Fiji for example-Tonic Sol-fa has been so fully assimilated into the ethnic culture that it has been "indigenized" and may now be said to represent a significant exogenous aspect of the musical culture in these countries.

Tonic Sol-fa was most commonly introduced to countries in the Asia-Pacific Region -as in Africa - by Christian missionaries who sought to exploit the attraction of hymns, particularly when sung in four-part harmony, as a means of evangelizing indigenous people who frequently regarded this aspect of missionary activity as a form of "magic". In particular, the Tonic Sol-fa method and notation gained a significant foothold in what were referred to as the South Sea Islands--especially in Fiji where today, the Fijian Hymn Book (1985 edition) is notated exclusively in Tonic Sol-fa. The vast majority of the Fijians are literate in Tonic Sol-fa notation and congregational singing in four parts is the norm in Fijian churches.

This paper will draw on data from nineteenth century journal sources, particularly The Tonic Sol-fa Reporter (1853-1888) and The Musical Herald (1889-1920), and will document the introduction and dissemination of Tonic Sol-fa in several Asia-Pacific countries where, unlike Australia and New Zealand, the indigenous population has maintained its own cultural and demographic predominance. Countries to be considered will include India, China (including Hong Kong), and Pacific Island nations. There will also be a consideration of the contemporary usage and applications of Tonic Sol-fa in the region, with specific reference to Fiji. It will be argued that countries where Tonic Sol-fa notation has become the norm should resist any external pressure to transfer to the standard staff notation merely for the sake of conformity. In the case of Fiji, almost universal music literacy has been achieved through Tonic Sol-fa and this should be recognized as an enviable social and cultural asset.

Understanding requirements engineering process: a challenge for practice and education

Reviews of the state of the professional practice in Requirements Engineering (RE) stress that the RE process is both complex and hard to describe, and suggest there is a significant difference between competent and "approved" practice. "Approved" practice is reflected by (in all likelihood, in fact, has its genesis in) RE education, so that the knowledge and skills taught to students do not match the knowledge and skills required and applied by competent practitioners.

A new understanding of the RE process has emerged from our recent study. RE is revealed as inherently creative, involving cycles of building and major reconstruction of the models developed, significantly different from the systematic and smoothly incremental process generally described in the literature. The process is better characterised as highly creative, opportunistic and insight driven. This mismatch between approved and actual practice provides a challenge to RE education - RE requires insight and creativity as well as technical knowledge. Traditional learning models applied to RE focus, however, on notation and prescribed processes acquired through repetition. We argue that traditional learning models fail to support the learning required for RE and propose both a new model based on cognitive flexibility and a framework for RE education to support this model.

The power of rhythm and words : from little things big things grow

Primary literacy teacher educators need to re-conceptualise the ways in which they work together to model effective interdisciplinary practice. This paper reports on such practice in a team teaching unit for postgraduate students undertaking the Bachelor of Teaching (Primary/Secondary) at Deakin University, Melbourne. The interdisciplinary (Social Education, Language and Music) unit, a first in the Faculty of Education was conceptualised to challenge both lecturer and student (local and international) to 'rethink' their understandings of pedagogy, multi-literacies and teacher preparedness. For the purpose of this paper, the authors reflect on a particular team teaching experience whereby a text (song) was used to teach both the elements of music and literacy pedagogy. It opened up new possibilities for students to engage and participate with each discipline as well as how one area can inform and further deepen the understanding for learners of the other. For example, musical notation and score was used to explain and use the 4 resource model (Luke and Freebody, 1990). The authors contend that crossdisciplinary work cannot be reduced to simple cooperation among disciplines but that primary literacy teacher educators need to develop new conceptual frameworks for learning that will enhance their understandings of pedagogy and assist in preparing teachers in a challenging world.

Managing design knowledge with mixed-initiative dialogue

This paper is based on ongoing work in developing interactive interfaces to formal methods for encoding design knowledge. It reports on the development of a shared graphical notation to support user interaction with design knowledge based on mixed-initiative. Mixed-initiative provides a model of interaction where both the designer and the knowledge formalism may share responsibility over decisions. The paper discusses how a formal visual notation can support the mixed-initiative mode for developing and managing formal design knowledge. The notation addresses on the dialogue problem between the user and a knowledge based formalism and illustrates a model of interaction in which the user and the formalism can share and input data through a common shared resource, on a common shared task. The paper demonstrates the use of this notation in common decision tasks and the implications for seamless interaction with design support systems.

Translating text into motion : performance analysis for singers and directors

The study proposes a method of interpretation, which gives the contemporary singer-actor and director a method of performance analysis considering both the visual and the auditory aspects of vocal performance. The analysis begins with an analysis of the structure, which maps out the key ideas and translates them into main states of mind. The text analysis is followed by an analysis of the musical treatment of the text, also scanning for extra dramatic meaning inherent in vocal line and musical accompaniment. The so isolated dramatic ideas in text and musical structure and content are finally discussed in terms of their physical aspects, using the system of gesture as practiced by actors and singers before, during and beyond the Baroque period. The method is exemplified by the obbligato recitative "In quali eccessi" from Donna Elvira’s scene in the second act of the opera "Don Giovanni" by L. Da Ponte and W. A. Mozart. The musical example includes gestural notation and a table gestural notation symbols.

Fuzzy concepts and formal methods

It has been recognised that formal methods are useful as a modelling tool in requirements engineering. Specification languages such as Z permit the precise and unambiguous modelling of system properties and behaviour. However some system problems, particularly those drawn from the information systems problem domain, may be difficult to model in crisp or precise terms. It may also be desirable that formal modelling should commence as early as possible, even when our understanding of parts of the problem domain is only approximate. This thesis suggests fuzzy set theory as a possible representation scheme for this imprecision or approximation. A fuzzy logic toolkit that defines the operators, measures and modifiers necessary for the manipulation of fuzzy sets and relations is developed. The toolkit contains a detailed set of laws that demonstrate the properties of the definitions when applied to partial set membership. It also provides a set of laws that establishes an isomorphism between the toolkit notation and that of conventional Z when applied to boolean sets and relations. The thesis also illustrates how the fuzzy logic toolkit can be applied in the problem domains of interest. Several examples are presented and discussed including the representation of imprecise concepts as fuzzy sets and relations, system requirements as a series of linguistically quantified propositions, the modelling of conflict and agreement in terms of fuzzy sets and the partial specification of a fuzzy expert system. The thesis concludes with a consideration of potential areas for future research arising from the work presented here.

Case study of electronic networking in an initial teacher education course

Electronic networking ('computer-mediated communication1), considered to be ‘unique domain for educational activity’ (Harasim, 1989:50) and ‘new educational paradigm’ (Mason & Kaye, 1989:23), has been widely used and researched in K-12 schooling, place-based undergraduate subjects and distance education courses. However, only a limited number of reports of usage with experienced teachers (professional development), beginning teachers (induction support) and trainee teachers (initial training) have been published. Hence, little is known about the ways in which this new medium might contribute to the acquisition and maintenance of professional knowledge in the field of teacher education. The purpose of this study was to document an application of electronic networking in an initial 'school-based1 teacher education course. Three factors which were considered to be important in the adoption of electronic networking were specifically addressed: (a) the potential of the medium to attract and maintain a representative and comprehensive audience', (b) the willingness of participants to use the medium for the notation of ideas about teaching; and, (c) the extent to which reflection on practice was evident in network messages. This study also identified and investigated other effects which emerged as participants attempted to negotiate personal relationships with new technology. A case study was selected to investigate audience, notation, reflection, and other effects, in a particular application. Data were collected using participant observation, software-generated statistics, printed documentation, university records, questionnaires, interviews and content analysis of messages. These data were used to describe and analyse network participation by trainee teachers, classroom teachers and university staff. The data revealed that an audience did exist on the electronic network but that this was not comprehensive. Teachers had difficulty accessing the network because of other school commitments, access to equipment and personal competence with microcomputers. These difficulties indicated that developing and maintaining the teacher audience may be a major problem with electronic networking in initial teacher education. This case study revealed that deeply held concerns about notation of ideas by trainee teachers and classroom teachers can be powerful reasons for limited network participation. For trainee teachers, recording ideas publicly presented special difficulties associated with written communication. They were concerned about writing for an audience; about what to write about and how to write it. The loss of visual and verbal cues which form part of face-to-face communication was also a problem leading to concerns about how messages would be received by others. However, the overwhelming concern of almost all trainee teachers about presenting their own ideas was Tear of criticism' from peers (in particular), and other participants on the network. Trainee teachers expressed concerns about the 'dangers' of putting their thoughts in writing, the scrutiny their messages might have received from others, and the public 'criticism' about what they wrote which might have appeared on the network. Knowing that messages were stored on the network, and could be retrieved at some later date, heightened anxiety about the vulnerability of written communication; what was written on one occasion may have to be defended at some later date when the views expressed initially were no longer held. Classroom teachers were also unsure about recording their own ideas in an electronic form. Like trainee teachers, they were concerned about the scrutiny their contributions might receive from other users, and the lack of visual and verbal cues which they had learnt to use in face-to-face communication. Notating ideas in text-based messages which were archived (by the software), and retrievable by others later, was also daunting to many teachers. Another major 'danger' for teachers was the possible repercussions of 'public comment' about curriculum policy and initiatives which they thought might get them into 'trouble' with their employer. Since very few messages were contributed to conferences, there was little evidence of reflection in network communication. In the main, the network was not used to share information and ideas about curriculum and teaching. Public examples of collaboration between participants were not evident, and the 'special knowledge' held by members in each distinct group of users was not elaborated and discussed. Messages were not used to request information or clarification about issues, to outline the processes by which decisions about teaching were reached, or to synthesis ideas from different sources. The potential of the medium to operationalise reflective practice was not realised. Among the effects observed, the use of an anonymous account to access the network, and the impact this had on participation (in one conference) was considered to be a particularly significant finding. While the opportunity to systematically investigate the effects of anonymity on network participation and message contributions was not realised (by the author) while the research was in progress, the effects observed and discussed are considered to be important and worthy of further investigation. In this case study, the anonymous account helped trainee teachers mask concerns about personal writing skills and fear of criticism from others, indicating that anonymity may alter communication patterns, particularly in the early stages of network use. Given the data collected in this case study, and the interpretations placed on it by the author, a pessimistic assessment of the place of electronic networking in initial teacher education courses was presented. For this situation to change - that is, for electronic discussions to become more fully integrated into course activities - four issues which need to be addressed were identified and discussed. These included clarification of the role of collaboration amongst participants in initial teacher education, the ways in which collaboration can be facilitated using electronic networking, the problems of notation - such as the difficulty of expressing ideas about teaching in written form, and the concerns about permanently archived messages - for teachers and trainee teachers, and the lack of skills which many trainee teachers bring to electronic discussions. In the context of initial teacher education, it was suggested that these four aspects require clarification and development before the potential advantages of electronic networking can be realised. Some specific suggestions about how these issues might be resolved were presented.

Syzygies of the polynomial invariants of the Riemann tensor

This thesis introduces a novel way of writing polynomial invariants as network graphs, and applies this diagrammatic notation scheme, in conjunction with graph theory, to derive algorithms for constructing relationships (syzygies) between different invariants. These algorithms give rise to a constructive solution of a longstanding classical problem in invariant theory.

Enhancing business intelligence traceability through an integrated metadata framework

The Business Intelligence (BI) system provides users with multi-dimensional information (so-called BI product) to support their decision-making. However, very often business users still could not fully understand the BI product, nor have a clear picture of the entire information manufacturing chain of the BI product. In response to this situation, this paper presents an integrated metadata framework (“BIP-Map”) to facilitate the traceability and accountability of a BI product following the design science research approach. Specifically, the salient modelling and management techniques from the business process modelling notation (BPMN), the information product map (IP-Map), and the metadata management are adapted to construct a three-layered integrated metadata framework enabling the business users to make timely and informed decisions. A BIP-Map informed prototype system has been developed in collaboration with online job recruitment firms. The authors conducted in-depth interviews with seven key BI stakeholders of the recruitment firms to evaluate the usefulness of the BIP-Map. It is envisaged that the metadata framework allows the technical personnel to understand the business processes that relate to certain information provided in the BI reports. Business users will also be able to gain insights into the logic behind any BI report.

The visitors guide a simple video reuse application

One of the results of the surge in interest in the internet is the great increase in availability of pictorial and video data. Web browsers such as Netscape give access to an enormous range of such data. In order to make use of large amounts of pictorial and video data, it is necessary to develop indexing and retrieval methods. Pictorial databases have made great progress recently, to the extent that there are now a number of commercially available products. Video databases are now being researched and developed from a number of different viewpoints. Given a general indexing scheme for video, the next step is to reuse clips in further applications. In this paper we present an initial application for the reuse of video clips. The aim of the system is to resequence video clips for a particular application. We have chosen a well-constrained application for this purpose, the aim being to produce a video tour of a campus between designated start and destination points from a set of indexed video clips. We use clips of a guide entering and leaving buildings on our campus, and when visitors select a start location and a destination, the system will retrieve clips suitable for guiding the visitor along the correct path. The system uses an index of spatial relationships of key objects for the video clips to decide which clips provide the correct sequence of motion around the campus. Although the full power of the indexing notation is unnecessary for this simple problem, the results from this initial implementation indicate that the concept could be applicable to more complex problems.

Trio a, ranup lampuan and sovereignty

An essay is presented on dance authorship, dance discourses, and the likelihood or otherwise of keeping dance integrity, which uses the idea of sovereignty. It discusses the topics in relation to the dances "Trio A" and "Ranup Lampuan." It also highlights the essays "Trio A: Genealogy, Documentation, Notation," by Yvonne Rainer and "A dance of Aceh: Yuslizar and his creation that became traditional," by Murtala Murtala.

Communities, networks, individuals : place, self and everyday life on the internet

In this paper, I review the long-established use of the concept of ‘community’ which attempts both to perceive and analyse the experience of human interaction, mediated by networked computing. Ever since this form of communication commenced, it was clear that it was no ‘bloodless technological ritual’ (Rheingold, 1994), but something much more deeply human and expressive. For many years, the conceptual apparatus of ‘community’ served as the primary means for understanding the limits and potentials of this activity. However, the recent rise of social networking and social media might cast doubt on the legitimacy of this contested term’s continued relevance. Thus, I move from community to self, via the network notation that has come now to dominate our terminologies. I seek to demonstrate that, as the Internet has become interleaved with everyday life to the point where there is no distinction, for many people, between online and offline, we need to think again about how and what community might mean. In doing so, I suggest that the relationship between self and others, mediated or otherwise, is always one of shared ‘place’ but that contemporary practices of social networking differ significantly in how that place is shared and the degree of collective effort required.

Pre-choreographic elements: Scott deLahunta in conversation with Bertha Bermúdez

‘Pre-Choreographic Elements’ is a research project that evolved from the interdisciplinary project (Capturing) Intention initiated by dance company Emio Greco | PC and the Art and Development Research Group of the Amsterdam School of the Arts in 2005 (see article by Bermúdez in this issue, pp. 61–81.). ‘Pre-Choreographic Elements’ refers to the ‘pre-phase of choreography, where the content is being created, shaped and tested but not yet part of the selection and ordering process choreography implies’. In this dialogue, deLahunta talks to Bermúdez about the current state of this research.

Coathanger : Finalist in the 2014 Bowness Prize

In the attempt to understand how the camera works I built a camera obscura and discovered that photography exists without us. That nature produces pinholes of light that form images came as a revelation. This spawned a new way of exploring the body in motion through photography. Guided by instinctual body memory of light and space I impose rules on how and when I shoot. In this series I ‘performed’ states of motion by combining elements together - a pas de trois of gravity, water and body mass caught in a flash, the action commonly known as ‘bombing’. I continue to ‘choreograph’ the moment in photoshop just like dance notation as if it could be read and repeated.

Stillness and movement: a bodily approach to photography

My paper will address both Duration and temporality of the ‘still’ imageand Sensorial and bodily experience of photography through a discussion of a recent body of work ‘Fly Rhythm’, a series of photographs and video works exhibited in a gallery context.By acknowledging the inter-relationship between the body and the camera my project seeks to challenge a perceived separation between performance and photography. Fly Rhythm was conceived through a performative somatic process. Through using a custom made camera I was able to negotiate time and space to create a visual drawing of movement and stillness together in photography. The resultant images are discussed as a notation of body movement – a record of bodily history enabled through a self imposed discipline of learning to read light.I initially constructed a human size camera to understand how photography works. Spending time inside observing the way light moves and affects the formation of sight is also a way of embodying the act of photography. I responded by making a bespoke camera that enabled light to be captured during extended periods while moving. My project is dependent upon a self-imposed discipline of intuiting light’s strength and erratic changes, a skill developed by making analogue prints while inside a camera obscura. Once I had developed an ability to read light’s changes and gain an understanding of camera mechanics I made durational recordings moving through the landscape on Bruny Island Tasmania and industrial sites in Melbourne, photographs exhibited as part of Fly Rhythm. I will discuss these prints in context with the idea that light is a conduit through which past and present fuse together in a bodily act of photographing and processing images.I will explore durational aspects of photography by discussing light’s relative motion while taking photographs without using the viewfinder or composing images in the traditional way. Rather, the camera at the end of my arm is directed through how I read light therefore a choreography notated in the prints – a kind of body signatureMy practice enables a new the way of seeing, in a spontaneous hand held process creating a sense of embodiment. By analyzing process my paper will consider how the body together with analogue and 21st century digital technology coalesce cross-disciplinary practice combining visual art, performance and photographic disciplines.I also explored limitations of digital light in contrast with ‘natural’ light by a making a gamut of dissolving colour determined by the software based on two pixels. Projected into the ambient light ‘Glide’ is an 11minute durational work installed at the Substation Contemporary Art Space in Melbourne Australia.