Bimodal adaptive hypermedia and interactive multimedia a web-based learning environment based on Kolb's theory of learning style

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Global and local perceptual style, field-independence, and central coherence: an attempt at concept validation

Historically, the concepts of field-independence, closure flexibility, and weak central coherence have been used to denote a locally, rather globally, dominated perceptual style. To date, there has been little attempt to clarify the relationship between these constructs, or to examine the convergent validity of the various tasks purported to measure them. To address this, we administered 14 tasks that have been used to study visual perceptual styles to a group of 90 neuro-typical adults. The data were subjected to exploratory factor analysis. We found evidence for the existence of a narrowly defined weak central coherence (field-independence) factor that received loadings from only a few of the tasks used to operationalise this concept. This factor can most aptly be described as representing the ability to dis-embed a simple stimulus from a more complex array. The results suggest that future studies of perceptual styles should include tasks whose theoretical validity is empirically verified, as such validity cannot be established merely on the basis of a priori task analysis. Moreover, the use of multiple indices is required to capture the latent dimensions of perceptual styles reliably.

Bimodal adaptive hypermedia and interactive multimedia a web-based learning environment based on Kolb's theory of learning style

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Feeling Bodies in Marketing: Aesthetics, Emotions and Gender

Gender is deeply embedded in marketing ideology, and it continues to be a topic of concern in the marketing academy. There is little attention paid by marketers, however, to related studies in other fields on aesthetic labour and emotional labour in relation to gender issues, despite the commonalities and intersections between them. This article seeks to incorporate aesthetic labour and emotional labour into the gender and marketing discussion. It concludes by calling for greater critical awareness of gender as a dominant motif in our ideologies, discourses and practices in marketing, offering suggestions for empirical research into this important topic.

Reverberations: The Philosophy, Aesthetics, and Politics of Noise

A publication emerging out of a successful international conference I co-organised on noise in 2010. The first of two volumes, this one focuses on noise as an aesthetic, political and cultural concept, and a range of noise practices beyond purely sonic ones, such as audiovisual noise and noise in communication theory. It argues that noise is fundamental to contemporary communication practices and facilitates a reversal of perspective in how these practices can be understood

Photoionization of Costyle="margin: 0px; padding: 0px; border: 0px; outline-style: none; font-weight: inherit; font-style: inherit; font-size: 0.85em; font-family: inherit; line-height: 0; text-align: inherit;">+ and electron-impact excitation of Costyle="margin: 0px; padding: 0px; border: 0px; outline-style: none; font-weight: inherit; font-style: inherit; font-size: 0.85em; font-family: inherit; line-height: 0; text-align: inherit;">2 + using the Dirac style="margin: 0px; padding: 0px; border: 0px; outline-style: none; font-weight: inherit; font-size: inherit; font-family: inherit; line-height: inherit; text-align: inherit; vertical-align: baseline;">R-matrix method

Modelling of massive stars and supernovae (SNe) plays a crucial role in understanding galaxies. From this modelling we can derive fundamental constraints on stellar evolution, mass-loss processes, mixing, and the products of nucleosynthesis. Proper account must be taken of all important processes that populate and depopulate the levels (collisional excitation, de-excitation, ionization, recombination, photoionization, bound–bound processes). For the analysis of Type Ia SNe and core collapse SNe (Types Ib, Ic and II) Fe group elements are particularly important. Unfortunately little data is currently available and most noticeably absent are the photoionization cross-sections for the Fe-peaks which have high abundances in SNe. Important interactions for both photoionization and electron-impact excitation are calculated using the relativistic Dirac atomic style="margin: 0px; padding: 0px; border: 0px; outline-style: none; font-size: 14px; font-family: "Lucida Grande", "Lucida Sans Unicode", Tahoma, Verdana, Arial, Helvetica, sans-serif; line-height: inherit; vertical-align: baseline; background-color: rgb(255, 255, 255);">R-matrix codes (DARC) for low-ionization stages of Cobalt. All results are calculated up to photon energies of 45 eV and electron energies up to 20 eV. The wavefunction representation of Co III has been generated using GRASP0 by including the dominant 3d^{style="margin: 0px; padding: 0px; border: 0px; outline-style: none; font-size: 0.85em; font-family: "Lucida Grande", "Lucida Sans Unicode", Tahoma, Verdana, Arial, Helvetica, sans-serif; line-height: 0; background-color: rgb(255, 255, 255);">7}, 3d^{style="margin: 0px; padding: 0px; border: 0px; outline-style: none; font-size: 0.85em; font-family: "Lucida Grande", "Lucida Sans Unicode", Tahoma, Verdana, Arial, Helvetica, sans-serif; line-height: 0; background-color: rgb(255, 255, 255);">6}[4s, 4p], 3p^{style="margin: 0px; padding: 0px; border: 0px; outline-style: none; font-size: 0.85em; font-family: "Lucida Grande", "Lucida Sans Unicode", Tahoma, Verdana, Arial, Helvetica, sans-serif; line-height: 0; background-color: rgb(255, 255, 255);">4}3d^{style="margin: 0px; padding: 0px; border: 0px; outline-style: none; font-size: 0.85em; font-family: "Lucida Grande", "Lucida Sans Unicode", Tahoma, Verdana, Arial, Helvetica, sans-serif; line-height: 0; background-color: rgb(255, 255, 255);">9} and 3p^{style="margin: 0px; padding: 0px; border: 0px; outline-style: none; font-size: 0.85em; font-family: "Lucida Grande", "Lucida Sans Unicode", Tahoma, Verdana, Arial, Helvetica, sans-serif; line-height: 0; background-color: rgb(255, 255, 255);">6}3d^{style="margin: 0px; padding: 0px; border: 0px; outline-style: none; font-size: 0.85em; font-family: "Lucida Grande", "Lucida Sans Unicode", Tahoma, Verdana, Arial, Helvetica, sans-serif; line-height: 0; background-color: rgb(255, 255, 255);">9} configurations, resulting in 292 fine structure levels. Electron-impact collision strengths and Maxwellian averaged effective collision strengths across a wide range of astrophysically relevant temperatures are computed for Co III. In addition, statistically weighted level-resolved ground and metastable photoionization cross-sections are presented for Co II and compared directly with existing work.

Postdigital play and the aesthetics of recruitment

This paper analyses reconfigurations of play in newly emergent material and digital configurations of game design. It extends recent work examining dimensions of hybridity in playful products by turning attention to interfaces, practices and spaces, rather than devices. We argue that the concept of hybrid play relies on predefining clear and distinct entities that then enter into hybrid situations. Drawing on concepts of the ‘interface’ and ‘postdigital’, we argue the distribution of computing devices creates difficulties for such presuppositions. Instead, we propose an ‘aesthetic of recruitment’ that is adequate to the new openness of social and technical play.

Popular singing and style.

Popular Singing serves as a practical guide to exploring the singing voice while helping to enhance vocal confidence in a range of popular styles. The book provides effective alternatives to traditional voice training methods, and demonstrates how these methods can be used to create a flexible and unique sound.

Petr Eben's oratorio Apologia Sokratus (1967) and ballet Curses and Blessings (1983): An interpretative analysis of the symbolism behind the text settings and musical style

The Czech composer Petr Eben (1927-2007) has written music in all genres except symphony, but he is highly recognized for his organ and choral compositions, which are his preferred genres. His vocal works include choral songs and vocal-instrumental works at a wide range of difficulty levels, from simple pedagogical songs to very advanced and technically challenging compositions. This study examines two of Eben‘s vocal-instrumental compositions. The oratorio Apologia Sokratus (1967) is a three-movement work; its libretto is based on Plato‘s Apology of Socrates. The ballet Curses and Blessings (1983) has a libretto compiled from numerous texts from the thirteenth to the twentieth centuries. The formal design of the ballet is unusual—a three-movement composition where the first is choral, the second is orchestral, and the third combines the previous two played simultaneously. Eben assembled the libretti for both compositions and they both address the contrasting sides of the human soul, evil and good, and the everlasting fight between them. This unity and contrast is the philosophical foundation for both compositions. The dissertation discusses the multileveled meanings behind the text settings and musical style of the oratorio and ballet in analyses focusing on the text, melodic and harmonic construction, and symbolism. Additional brief analyses of other vocal and vocal-instrumental compositions by Eben establish the ground for the examination of the oratorio and ballet and for understanding features of the composer‘s musical style. While the oratorio Apologia Sokratus was discussed in short articles in the 1970s, the ballet Curses and Blessings has never previously been addressed within Eben scholarship. The dissertation examines the significant features of Eben‘s music. His melodic style incorporates influences as diverse as Gregorian chant and folk tunes on the one hand, and modern vocal techniques such as Sprechgesang and vocal aleatoricism on the other. His harmonic language includes bitonality and polytonality, used to augment the tonal legacy of earlier times, together with elements of pitch collections and limited serial procedures as well as various secundal and quartal harmonic sonorities derived from them. His music features the vibrant rhythms of folk music, and incorporates other folk devices like ostinato, repetitive patterns, and improvisation.

Are we all castrati? Venanzio Rauzzini: ‘The father of a new style in English singing’

Though the castrato has been absent from the operatic stage since the nineteenth century, this voice is often described as the mysterious link in understanding the vocal techniques attributed to bel canto. The mystery lies in the fact that the voice of the operatic castrato cannot be heard by modern ears; and yet its legacy can be seen in the vocal tuition of several successful opera singers at the turn of the nineteenth century. What is unusual about this period is that some of the most successful singers of the day, including Nancy Storace, John Braham and Elizabeth Billington were British and shared the same vocal teacher. The castrato Venanzio Rauzzini (1746-1810) began his career as a primo uomo on the continent and while he established himself in various areas of musical activity, his main contribution and legacy was as a vocal teacher. During his residency in Britain from 1774 until his death, he trained several leading British professional singers who were the stars of opera in London and on the continent. They each demonstrated a use of techniques associated with the castrato vocal aesthetic and popularised a new vocal style, which can be traced to Rauzzini. Through this thesis, I will draw attention to the importance of Rauzzini’s impact on vocal teaching practice in Britain and his wider influence on the development of vocal style. I will demonstrate that Rauzzini should be considered part of the vocal teaching canon to which Pier Francesco Tosi (c.1653-1732), Nicola Porpora (1686-1768) and Manual García II (1805-1906), three other foreign vocal teachers, who were resident in Britain, already belong. By examining exactly what the expected vocal aesthetics were for all singers, castrato, non-castrated male and female during the period in which Rauzzini was active, I will demystify the castrato technique and provide a more tangible understanding of what this encompassed, demonstrating that many of these techniques were learned, performed and popularised by other voice types such as the female soprano and the male tenor.

From physics to metaphysics: philosophy and style in the critical writings of T. S. Eliot (1913-1935)

This thesis considers Eliot's critical writing from the late 1910s till the mid-1930s, in the light of his PhD thesis - Knowledge and Experience in the Philosophy of F. H. Bradley - and a range of unpublished material: T S. Eliot's Philosophical Essays and Notes (1913- 4) in the Hayward Bequest (King's College, Cambridge University); T. S. Eliot's Family Papers in the T. S. Eliot Collection at the Houghton Library (Harvard University); and items from the Harvard University Archives at the Pusey Library. 'Me thesis offers a comprehensive view of Eliot's critical development throughout this important period. It starts by considering The Sacred Wood's ambivalence towards the metaphysical philosophy of F. H. Bradley and Eliot's apparent adoption of a scientific method, under the influence of Bertrand Russell. It will be argued that Eliot uses rhetorical strategies which simultaneously subvert the method he is propounding, and which set the tone for an assessment of his criticism throughout the 1920s. His indecision, in this period, about the label 'Metaphysical' for some poets of the seventeenth century, reveals the persistence of the philosophical thought he apparently rejects in 1916, when he chooses not to pursue a career in philosophy in Harvard. This rhetorical tactic achieves its fulfilment in Dante (1929), where Eliot finds a model in the medieval allegorical method and 'philosophical' poetry. Allegory is also examined in connection with the evaluation of Eliot's critical writings themselves to determine, for instance, the figurative dimension of his early scientific vocabulary and uncover metaphysical residues he had explicitly disowned but would later embrace. Finally, it is suggested that, the hermeneutics of allegory are historical and it is used here to test the relationship between Eliot's early and later critical writings, that is the early physics and the later metaphysics.

Action-Emotion Style, Learning Approach and Coping Strategies, in Undergraduate University Students

Action-Emotion Style (AES) is an affective-motivational construct that describes the achievement motivation that is characteristic of students in their interaction with stressful situations. Using elements from the Type-A Behavior Pattern (TABP), characteristics of competitiveness and overwork occur in different combinations with emotions of impatience and hostility, leading to a classification containing five categories of action-emotion style (Type B, Impatient-hostile type, Medium type, Competitive-Overworking type and Type A). The objective of the present research is to establish how characteristics of action-emotion style relate to learning approach (deep and surface approaches) and to coping strategies (emotion-focused and problem-focused). The sample was composed of 225 students from the Psychology degree program. Pearson correlation analyses, ANOVAs and MANOVAs were used. Results showed that competitiveness-overwork characteristics have a significant positive association with the deep approach and with problem-focused strategies, while impatience-hostility is thus related to surface approach and emotion-focused strategies. The level of action-emotion style had a significant main effect. The results verified our hypotheses with reference to the relationships between action-emotion style, learning approaches and coping strategies.

Ideals, Aesthetics, and Practices of Professionalization in the Tokyo Jazz Scene

In the early twenty-first century, jazz has a history in Japan of approximately 100 years. In contemporary Tokyo, Japanese musicians demonstrate their right to access jazz performance through a variety of musical and extra-musical techniques. Those accepted as fully professional and authentic artists, or puro, gain a special status among their peers, setting them apart from their amateur and part-time counterparts. Drawing on three months of participant-observation in the Tokyo jazz scene, I examine this status of puro, its variable definition, the techniques used by musicians to establish themselves as credible jazz performers, and some obstacles to achieving this status. I claim two things: first, aspiring puro musicians establish themselves within a jazz tradition through musical references to African American identity and a rhetoric of jazz as universal music. Second, I claim that universalism as a core aesthetic creates additional obstacles to puro status for certain musicians in the Tokyo scene.