Instruments and data aquisition systems for research on trawl nets

Catching methods and ways to improve them have been engaging the attention of fishermen from time immemorial. This was done mostly by trial and error methods, as most of the earlier investigations were primarily directed towards solution of biological problems related to fisheries. In recent years several fisheries laboratories have taken up studies on the working principles of many gears such as trawls, gill nets, round haul nets etc. with the aid of instruments developed for the purpose. The purpose of this article is to review the progress made in this field and in the development of telemetering instruments and continuous data acquisition systems.

Selection of materials for marine instruments

The paper describes the selection of materials for the reliable operation of oceanographic instruments. For selecting the material, raft immersion tests were carried out for one year. Results of the tests are presented. Comparisons between metals were discussed.

Integrated high pressure microhydraulic actuation and control for surgical instruments

To reduce the surgical trauma to the patient, minimally invasive surgery is gaining considerable importance since the eighties. More recently, robot assisted minimally invasive surgery was introduced to enhance the surgeon's performance in these procedures. This resulted in an intensive research on the design, fabrication and control of surgical robots over the last decades. A new development in the field of surgical tool manipulators is presented in this article: a flexible manipulator with distributed degrees of freedom powered by microhydraulic actuators. The tool consists of successive flexible segments, each with two bending degrees of freedom. To actuate these compliant segments, dedicated fluidic actuators are incorporated, together with compact hydraulic valves which control the actuator motion. Especially the development of microvalves for this application was challenging, and are the main focus of this paper. The valves distribute the hydraulic power from one common high pressure supply to a series of artificial muscle actuators. Tests show that the angular stroke of the each segment of this medical instrument is 90°. © 2012 Springer Science+Business Media, LLC.

THE EFFECT OF A PROGRAM OF PORTABLE ELECTRONIC PIANO KEYBOARD EXPERIENCE ON THE ACQUISITION OF SIGHT-SINGING SKILL IN THE NOVICE HIGH SCHOOL CHORUS

The problem was to determine whether a method of aural and visual vocal training that included a program of portable electronic piano keyboard experience would be more effective in teaching sight-singing skills to novice high school chorus students than a method that included only aural and visual vocal training. A sub-problem was to determine whether novice chorus students enjoyed playing electronic keyboards in chorus as a reinforcement experience in sight-singing training. Students were randomly assigned to two treatment groups, tested with the Musical Aptitude Profile, Tonal Imagery, part A, and then trained separately. The experimental group sang repetitions of melodic patterns and utilized techniques associated with the Kodály Method while simultaneously playing keyboard. The comparison group received a similar treatment without using keyboards. The students were pre- and post-tested in sight-singing using the Vocal Sight-Reading Inventory. Results of the Analysis of Covariance using MAP scores as the covariate revealed no significant difference (p<.05) between post-test scores of the two groups. Improvement was noted in 96% of students from pre-test to post-test regardless of grouping. The repeated measures ANOVA revealed a significant relationship (p<.006) between aptitude group and post-test score. High aptitude students in both groups were found to benefit more from the training than low aptitude students. High aptitude keyboard group students achieved an average gain score that was 8.67 points higher than the comparison group. Of the total experimental group, 92% enjoyed playing keyboards in chorus. It is recommended that future research be undertaken to study the use of keyboards with advanced high school choruses and with uncertain singers in the high school chorus. Research is also needed to develop graded, valid, and reliable sight-singing tests for use in high school chorus. Techniques of the Kodály Method should be further investigated for use in high school sight-singing training.

Patient-based outcome assessment instruments in acupuncture research.

BACKGROUND: Outcome assessment can support the therapeutic process by providing a way to track symptoms and functionality over time, providing insights to clinicians and patients, as well as offering a common language to discuss patient behavior/functioning. OBJECTIVES: In this article, we examine the patient-based outcome assessment (PBOA) instruments that have been used to determine outcomes in acupuncture clinical research and highlight measures that are feasible, practical, economical, reliable, valid, and responsive to clinical change. The aims of this review were to assess and identify the commonly available PBOA measures, describe a framework for identifying appropriate sets of measures, and address the challenges associated with these measures and acupuncture. Instruments were evaluated in terms of feasibility, practicality, economy, reliability, validity, and responsiveness to clinical change. METHODS: This study was a systematic review. A total of 582 abstracts were reviewed using PubMed (from inception through April 2009). RESULTS: A total of 582 citations were identified. After screening of title/abstract, 212 articles were excluded. From the remaining 370 citations, 258 manuscripts identified explicit PBOA; 112 abstracts did not include any PBOA. The five most common PBOA instruments identified were the Visual Analog Scale, Symptom Diary, Numerical Pain Rating Scales, SF-36, and depression scales such as the Beck Depression Inventory. CONCLUSIONS: The way a questionnaire or scale is administered can have an effect on the outcome. Also, developing and validating outcome measures can be costly and difficult. Therefore, reviewing the literature on existing measures before creating or modifying PBOA instruments can significantly reduce the burden of developing a new measure.

Physical activity in US Blacks: a systematic review and critical examination of self-report instruments.

BACKGROUND: Physical activity self-report instruments in the US have largely been developed for and validated in White samples. Despite calls to validate existing instruments in more diverse samples, relatively few instruments have been validated in US Blacks. Emerging evidence suggests that these instruments may have differential validity in Black populations. PURPOSE: This report reviews and evaluates the validity and reliability of self-reported measures of physical activity in Blacks and makes recommendations for future directions. METHODS: A systematic literature review was conducted to identify published reports with construct or criterion validity evaluated in samples that included Blacks. Studies that reported results separately for Blacks were examined. RESULTS: The review identified 10 instruments validated in nine manuscripts. Criterion validity correlations tended to be low to moderate. No study has compared the validity of multiple instruments in a single sample of Blacks. CONCLUSION: There is a need for efforts validating self-report physical activity instruments in Blacks, particularly those evaluating the relative validity of instruments in a single sample.

BAROQUE MUSIC FOR TRUMPET: A STUDY OF SOLO AND CHAMBER REPERTOIRE

The trumpet experienced important changes in terms of its musical use during the middle and late Baroque period. Prior to the Baroque, and even in to the first half of the 17th century, the trumpet had historically been used for rather "non-musical" purposes, sometimes as an instrument for battle or as a tool to be used in the town square to announce the arrival of a dignitary. On the whole, the trumpet was most certainly not used as an instrument of melody -that was typically reserved for violins, flutes, and oboes. However, in the late 1600's, composers such as Allesandro Stradella and Henry Purcell began to treat the trumpet differently. They saw the melodic potential in the trumpet and began to feature the trumpet more as an instrument of melody, as opposed to relegating it to only outlining triads and emphasizing harmony. Of course, keyboard, string, and woodwind instruments had long established a significant catalogue of works by the late 17th century. Additionally, even after the trumpet had been established as an instrument of melody, prominent composers of the time still wrote significantly more solo music for these other instrument families than for the trumpet. Consequently, the overall Baroque repertoire for the solo trumpet pales in comparison to that of the other families of instruments. But, much of this Baroque literature not originally written for trumpet can be presented effectively in the form of a transcription, thereby adding greatly to the repertoire of the Baroque solo trumpet. The goal of these three dissertation recitals is twofold: 1) to perform literature that offers music from a variety of countries of origin that span the entire Baroque era and 2) to feature music that has remained relatively unknown in the trumpet world, yet is musically strong. I will also introduce viable "new" music to the trumpet repertoire through Baroque transcriptions originally written for other instruments or voice. The majority of the transcriptions I will be performing have originated from my own listening and study of Baroque music, and I have selected music that I felt would translate well for the trumpet.

PIANIST-COMPOSERS WHOSE WORKS INCLUDE PIANISTIC INNOVATIONS

Throughout the piano’s history, certain composers have created innovations in the areas of virtuosity and sonority. These innovations came not only from the composers’ imagination, but also from the development of instruments and changes in musical style from one period to another. To investigate what kinds of innovations these pianist composers made, I divided them into technique and sound from Mozart to Cowell. I chose two-piano music (Sonata in D major, K.448 by Mozart and Rachmaninoff’s Second Suite) to demonstrate their experiments with varieties of textures and sonorities, using different registers of the two pianos orchestrally. En Blanc et noir by Debussy shows this composer’s deep interest and originality in piano sonorities. For solo piano music, Beethoven’s Piano Sonata Op.53 shows extensive technical invention. His use of long pedal effects shows a pianistic possibility not explored by Mozart. Hummel’s Piano Sonata in D major represents orchestral devices as well as pianistic techniques showing recent developments in the instrument. Chopin’s Ballade No.3 and Scherzo No.3 show virtuosic moments and also the expanded range of the keyboard. His Nocturne Op.27, no.2, with its sonorities resulting from the combination of pedal, and widespread accompaniments derived from Alberti bass figures, is a perfect example of Chopin’s characteristic sound-world. “Vallée d’Obermann” by Liszt uses many virtuosic techniques as well as the extreme wide ranges of keyboard in both hands to create dramatic contrasts of texture. Debussy’s etude, “Pour les Sonorités opposés” is probably the first etude designed for sonority rather than for keyboard virtuosity. Albeniz’s “Evocación” and “Triana” show Spanish atmosphere. Prokofiev’s Sonata no.3 shows frequent motoric driving elements that demand percussive virtuosity. Cowell’s piano music is some of the earliest to explore the sonorities of tone clusters and playing on the strings. This performance dissertation consists of three recitals performed in the Orchestra Room, Leah Smith Hall, and Gildenhorn Recital Hall at the University of Maryland, College Park. These recitals are documented on compact disc recordings that are housed within the University of Maryland Library System.

Multi-touch and keyboard/mouse devices comparison in an information search task: influence on cognitive load and task engagement

Nowadays multi-touch devices (MTD) can be found in all kind of contexts. In the learning context, MTD availability leads many teachers to use them in their class room, to support the use of the devices by students, or to assume that it will enhance the learning processes. Despite the raising interest for MTD, few researches studying the impact in term of performance or the suitability of the technology for the learning context exist. However, even if the use of touch-sensitive screens rather than a mouse and keyboard seems to be the easiest and fastest way to realize common learning tasks (as for instance web surfing behaviour), we notice that the use of MTD may lead to a less favourable outcome. The complexity to generate an accurate fingers gesture and the split attention it requires (multi-tasking effect) make the use of gestures to interact with a touch-sensitive screen more difficult compared to the traditional laptop use. More precisely, it is hypothesized that efficacy and efficiency decreases, as well as the available cognitive resources making the users’ task engagement more difficult. Furthermore, the presented study takes into account the moderator effect of previous experiences with MTD. Two key factors of technology adoption theories were included in the study: familiarity and self-efficacy with the technology.Sixty university students, invited to a usability lab, are asked to perform information search tasks on an online encyclopaedia. The different tasks were created in order to execute the most commonly used mouse actions (e.g. right click, left click, scrolling, zooming, key words encoding…). Two different conditions were created: (1) MTD use and (2) laptop use (with keyboard and mouse). The cognitive load, self-efficacy, familiarity and task engagement scales were adapted to the MTD context. Furthermore, the eye-tracking measurement would offer additional information about user behaviours and their cognitive load.Our study aims to clarify some important aspects towards the usage of MTD and the added value compared to a laptop in a student learning context. More precisely, the outcomes will enhance the suitability of MTD with the processes at stakes, the role of previous knowledge in the adoption process, as well as some interesting insights into the user experience with such devices.

A SURVEY OF FRENCH KEYBOARD MUSIC FROM 1880 TO 1950

French music flourished from the last quarter of the nineteenth century into the early twentieth century, especially in the genres of opera and orchestral music. Although French keyboard music enjoyed less popularity, being overshadowed by these predominant genres, prominent impressionist figures Claude Debussy (1862-1918) and Maurice Ravel (1875-1937) . . brought its revival to the French music. Scholars consider Debussy to be a frontrunner of Impressionism, and his influence had a major impact on subsequent composers. As a result of his popularity, other significant works by French composers seem to be overlooked by pianists and audiences and are not as often performed. Because keyboard works by Debussy and Ravel are a popular performance choice among pianists, I was eager to examine music by other French composers. Through my resea,rch, I found many great works that warranted further study and deserve a place in the keyboard repertoire. This recording project contains works by lesser-known French composers written between the years of 1880 and 1950, namely Emmanuel Chabrier (1841-1894), Gabriel-Urbain Faure (1845-1924), Charles Koechlin (1867-1950), Albert Roussel (1869-1937), Erik Satie (1866-1925), Francis Poulenc (1899-1963), Darius Milhaud (1892-1974), Robert Casadesus (1899-1972) and Henri Dutilleux (b.1916). Since piano repertoire is abundant, it is sometimes difficult to create a performance program. Therefore, it frequently becomes the default to choosing familiar repertoire rather than using the opportunity to expand the repertoire. As a pianist, I feel responsible to search for hidden musical treasures with which pianists and audiences alike are not so well acquainted. This recording project explores nine lesser-known French compositions written between 1880 and 1950. I expect this to be an opportunity to introduce both pianists and audiences to outstanding but unfamiliar works by French composers. This dissertation was recorded on two compact discs in Dekelboum Concert Hall at Clarice Smith Performing Arts Center of the University of Maryland. The recordings are archived in the University of Maryland Library.