title: Environmental ethics in a New Zealand context

authors: Gunn, Alastair S.

subjects: environmental ethics

abstract: Environmental ethics has many strands and roots but there is increasing for a holistic approach. Such an approach, which is consistent with te ao Maori and tikanga Maori, is especially appropriate for New Zealand.

text: Environmental ethics in a New Zealand context Environmental ethics has many strands and roots but there is increasing for a holistic approach. Such an approach, which is consistent with te ao Maori and tikanga Maori, is especially appropriate for New Zealand.

year: 2007

title: Composition Portfolio

authors: Ulenberg, Phillippa

subjects: composition portfolio

abstract: The music written for this portfolio offers creative answers to some of the challenges facing contemporary New Zealand composition, including multiculturalism.This has involved in-depth research using a variety of methods. Engagement was undertaken with linguists and musicians from Malaysia and Korea, who not only assisted with texts, but also spoke knowledgeably about their cultural traditions and past and present musical genres. The inclusion of Chinese gu-zheng in several of the works was made possible with the assistance given by Chen Xi Yao, an excellent performer who comes from a long lineage of musicians. Attending concerts given by performers of the instruments that have been used in the portfolio was essential to understanding the sounds and uses of the instruments. In addition, on-line sources include many examples of the sounds. Attendance at workshops on Māori taonga pūoro also brought the additional honour, benefits and experience of making and playing the instruments, and the opportunities to meet and work with leading makers and performers of these musical treasures. Sources of Western classical music that have been particularly influential during the writing of the portfolio are orchestral works by Igor Stravinsky, Samuel Barber and Param Vir, and the song cycles of Alban Berg and Benjamin Britten. Luciano Berio’s virtuosic piece for solo bassoon was also instructive. Experiences of composition, reflection and scholarly research underpin the portfolio and have have informed the composition of each work.

text: Composition Portfolio The music written for this portfolio offers creative answers to some of the challenges facing contemporary New Zealand composition, including multiculturalism.This has involved in-depth research using a variety of methods. Engagement was undertaken with linguists and musicians from Malaysia and Korea, who not only assisted with texts, but also spoke knowledgeably about their cultural traditions and past and present musical genres. The inclusion of Chinese gu-zheng in several of the works was made possible with the assistance given by Chen Xi Yao, an excellent performer who comes from a long lineage of musicians. Attending concerts given by performers of the instruments that have been used in the portfolio was essential to understanding the sounds and uses of the instruments. In addition, on-line sources include many examples of the sounds. Attendance at workshops on Māori taonga pūoro also brought the additional honour, benefits and experience of making and playing the instruments, and the opportunities to meet and work with leading makers and performers of these musical treasures. Sources of Western classical music that have been particularly influential during the writing of the portfolio are orchestral works by Igor Stravinsky, Samuel Barber and Param Vir, and the song cycles of Alban Berg and Benjamin Britten. Luciano Berio’s virtuosic piece for solo bassoon was also instructive. Experiences of composition, reflection and scholarly research underpin the portfolio and have have informed the composition of each work.

year: 2011

title: Linear acoustic waves in a nonisothermal atmosphere. II. photospheric resonator model of three-minute umbral oscillations

authors: Chae, Jongchul

subjects: Science & Technology

abstract: The velocity oscillations observed in the chromosphere of sunspot umbrae resemble a resonance in that their power spectra are sharply peaked around a period of about three minutes. In order to describe the resonance that leads to the observed 3-minute oscillations, we propose the photospheric resonator model of acoustic waves in the solar atmosphere. The acoustic waves are driven by the motion of a piston at the lower boundary, and propagate in a nonisothermal atmosphere that consists of the lower layer (photosphere), where temperature rapidly decreases with height, and the upper layer (chromosphere), where temperature slowly increases with height. We have obtained the following results: (1) The lower layer (photosphere) acts as a leaky resonator of acoustic waves. The bottom end is established by the piston, and the top end by the reflection at the interface between the two layers. (2) The temperature minimum region partially reflects and partially transmits acoustic waves of frequencies around the acoustic cutoff frequency at the temperature minimum. (3) The resonance occurs in the photospheric layer at one frequency around this cutoff frequency. (4) The waves escaping the photospheric layer appear as upwardpropagating waves in the chromosphere. The power spectrum of the velocity oscillation observed in the chromosphere can be fairly well reproduced by this model. The photospheric resonator model was compared with the chromospheric resonator model and the propagating wave model.

text: Linear acoustic waves in a nonisothermal atmosphere. II. photospheric resonator model of three-minute umbral oscillations The velocity oscillations observed in the chromosphere of sunspot umbrae resemble a resonance in that their power spectra are sharply peaked around a period of about three minutes. In order to describe the resonance that leads to the observed 3-minute oscillations, we propose the photospheric resonator model of acoustic waves in the solar atmosphere. The acoustic waves are driven by the motion of a piston at the lower boundary, and propagate in a nonisothermal atmosphere that consists of the lower layer (photosphere), where temperature rapidly decreases with height, and the upper layer (chromosphere), where temperature slowly increases with height. We have obtained the following results: (1) The lower layer (photosphere) acts as a leaky resonator of acoustic waves. The bottom end is established by the piston, and the top end by the reflection at the interface between the two layers. (2) The temperature minimum region partially reflects and partially transmits acoustic waves of frequencies around the acoustic cutoff frequency at the temperature minimum. (3) The resonance occurs in the photospheric layer at one frequency around this cutoff frequency. (4) The waves escaping the photospheric layer appear as upwardpropagating waves in the chromosphere. The power spectrum of the velocity oscillation observed in the chromosphere can be fairly well reproduced by this model. The photospheric resonator model was compared with the chromospheric resonator model and the propagating wave model.

year: 2019