title: Reply to “Comment on ‘Evolution of energy-containing turbulent eddies in the solar wind’ by W. H. Matthaeus, S. Oughton, D. H. Pontius Jr., and Y. Zhou”

authors: Matthaeus, William H.

abstract: In their preceding comment on our paper [Matthaeus et al., 1994] (hereinafter reffered to as paper 1), Tu and Marsh [this issue] object vehemently to what they perceive as undeserved criticism of the class of solar wind turbulence models developed by Tu and coworkers[Tu et al., 1984, Tu, 1987, 1988]. Our intent was not to slight the valuable contributions made in those groundbreaking theories for incorporating turbulence into models for spatial transport. Rather, we wished to point out certain shortcomings in existing theories and suggest how they might be improved.

text: Reply to “Comment on ‘Evolution of energy-containing turbulent eddies in the solar wind’ by W. H. Matthaeus, S. Oughton, D. H. Pontius Jr., and Y. Zhou” In their preceding comment on our paper [Matthaeus et al., 1994] (hereinafter reffered to as paper 1), Tu and Marsh [this issue] object vehemently to what they perceive as undeserved criticism of the class of solar wind turbulence models developed by Tu and coworkers[Tu et al., 1984, Tu, 1987, 1988]. Our intent was not to slight the valuable contributions made in those groundbreaking theories for incorporating turbulence into models for spatial transport. Rather, we wished to point out certain shortcomings in existing theories and suggest how they might be improved.

year: 1995

title: Composition portfolio

authors: Gilmour, Hannah Ruth

subjects: composition

abstract: This collection of original compositions shows a range of themes and styles.
Each piece portrays a different concept or idea I have grappled with during the year of composition.  Three Angles of Anticipation is a set of three diverse orchestral works each based on the theme of waiting.  In contrast, Sad Songs for a Rainy Day and a Broken Heart is a collection of six short pieces written for solo piano which explore the themes of grief and memories.  Land of Promise? combines acoustic and electroacoustic techniques to create a work questioning how much we are informed of New Zealand's history, whereas Telemachus is a dramatic work about a Monk killed in a gladiator arena.  To conclude, the electroacoustic tape work Ode to a Cricket is a set of three pieces created from the sample of a cricket call. It explores the theme of paying attention to the small and seemingly insignificant details of our world.

text: Composition portfolio This collection of original compositions shows a range of themes and styles.
Each piece portrays a different concept or idea I have grappled with during the year of composition.  Three Angles of Anticipation is a set of three diverse orchestral works each based on the theme of waiting.  In contrast, Sad Songs for a Rainy Day and a Broken Heart is a collection of six short pieces written for solo piano which explore the themes of grief and memories.  Land of Promise? combines acoustic and electroacoustic techniques to create a work questioning how much we are informed of New Zealand's history, whereas Telemachus is a dramatic work about a Monk killed in a gladiator arena.  To conclude, the electroacoustic tape work Ode to a Cricket is a set of three pieces created from the sample of a cricket call. It explores the theme of paying attention to the small and seemingly insignificant details of our world.

year: 2010

title: Transitioning from kōhanga reo to kura

authors: Hohepa, Margie Kahukura

abstract: This is a collaborative cross-sector research project involving a kōhanga reo (Māori immersion early childhood language nest) kura (Māori language immersion school) and university-based researchers. It focuses on tamariki (children) moving from kōhanga reo to kura classrooms and will examine the development of an 'akoranga whakawhiti', a transition programme that will be based at Te Kōhanga Reo o Ngā Kuaka in Hamilton. The over arching research question for this project is: Pēhea rā te āhuatanga me te kounga o ngā whakawhitinga mai i te kōhanga ki te kura mō ngā tamariki, whānau, kaiako me te hāpori? - What do effective transitions from kōhanga reo to kura look like, feel like, and sound like, for tamariki, whānau, kaiako and the community? The project aims to provide important new insights into learning and teaching in Māori-medium settings and into ways of enhancing transitions from Maori-medium early childhood education to Māori medium classrooms.

text: Transitioning from kōhanga reo to kura This is a collaborative cross-sector research project involving a kōhanga reo (Māori immersion early childhood language nest) kura (Māori language immersion school) and university-based researchers. It focuses on tamariki (children) moving from kōhanga reo to kura classrooms and will examine the development of an 'akoranga whakawhiti', a transition programme that will be based at Te Kōhanga Reo o Ngā Kuaka in Hamilton. The over arching research question for this project is: Pēhea rā te āhuatanga me te kounga o ngā whakawhitinga mai i te kōhanga ki te kura mō ngā tamariki, whānau, kaiako me te hāpori? - What do effective transitions from kōhanga reo to kura look like, feel like, and sound like, for tamariki, whānau, kaiako and the community? The project aims to provide important new insights into learning and teaching in Māori-medium settings and into ways of enhancing transitions from Maori-medium early childhood education to Māori medium classrooms.

year: 2014