title: Influence of feeding level after drying off on incidence of mastitis and keratin plug formation in dairy cows

authors: Summers, Emma Louise

subjects: drying off

abstract: Two groups of 70 cows, including 51 identical twin sets, were grazed at either an unrestricted (14 kg dry matter intake/day; DMI/d) or restricted (6 kg DMI/d) daily pasture allowance for two weeks after drying off (DO). Incidence of new intramammary infection (IMI) and teat open/closed status was assessed at 7, 14 and 21 days after DO. Keratin plug formation was determined on a subset of 40 cows at 7 and 14 days after DO. Number of clinical mastitis (CM) cases and total new IMI did not differ between cows maintained on unrestricted or restricted DMI. However Streptococcus uberis was isolated from more new IMI in unrestricted animals than restricted animals (11.7% vs. 4.6 % of quarters respectively; P <0.01). At 7 and 14 days after DO, more teats were classified as open in the unrestricted group compared to the restricted animals (57% vs. 43% of quarters respectively; P <0.01). However weight of keratin collected from teat canals did not differ between nutritional treatments. Results suggest that unrestricted nutrition after DO did not increase risk of CM but does increase risk of S. uberis infection.

text: Influence of feeding level after drying off on incidence of mastitis and keratin plug formation in dairy cows Two groups of 70 cows, including 51 identical twin sets, were grazed at either an unrestricted (14 kg dry matter intake/day; DMI/d) or restricted (6 kg DMI/d) daily pasture allowance for two weeks after drying off (DO). Incidence of new intramammary infection (IMI) and teat open/closed status was assessed at 7, 14 and 21 days after DO. Keratin plug formation was determined on a subset of 40 cows at 7 and 14 days after DO. Number of clinical mastitis (CM) cases and total new IMI did not differ between cows maintained on unrestricted or restricted DMI. However Streptococcus uberis was isolated from more new IMI in unrestricted animals than restricted animals (11.7% vs. 4.6 % of quarters respectively; P <0.01). At 7 and 14 days after DO, more teats were classified as open in the unrestricted group compared to the restricted animals (57% vs. 43% of quarters respectively; P <0.01). However weight of keratin collected from teat canals did not differ between nutritional treatments. Results suggest that unrestricted nutrition after DO did not increase risk of CM but does increase risk of S. uberis infection.

year: 2004

title: Mining data streams using option trees (revised edition, 2004)

authors: Holmes, Geoffrey

subjects: Machine learning

abstract: The data stream model for data mining places harsh restrictions on a learning algorithm. A model must be induced following the briefest interrogation of the data, must use only available memory and must update itself over time within these constraints. Additionally, the model must be able to be used for data mining at any point in time.
This paper describes a data stream classi_cation algorithm using an ensemble of option trees. The ensemble of trees is induced by boosting and iteratively combined into a single interpretable model. The algorithm is evaluated using benchmark datasets for accuracy against state-of-the-art algorithms that make use of the entire dataset.

text: Mining data streams using option trees (revised edition, 2004) The data stream model for data mining places harsh restrictions on a learning algorithm. A model must be induced following the briefest interrogation of the data, must use only available memory and must update itself over time within these constraints. Additionally, the model must be able to be used for data mining at any point in time.
This paper describes a data stream classi_cation algorithm using an ensemble of option trees. The ensemble of trees is induced by boosting and iteratively combined into a single interpretable model. The algorithm is evaluated using benchmark datasets for accuracy against state-of-the-art algorithms that make use of the entire dataset.

year: 2004-01-01

title: Tito Waiata-Tito Pūoro: extending the Kīngitanga music tradition.

authors: Rollo, Te Manaaroha Pirihira

subjects: Kīngitanga

abstract: Since 1858, music has always been an integral part of the Kīngitanga movement in New Zealand. As this music tradition evolves with the introduction of new musical idioms, genres and digital technology, so too do the practices of composing new works. 

The objective of this research was to construct a model for combining waiata, taonga pūoro and New Zealand electroacoustic music, in order to create new works that enhance the Kīngitanga music tradition.  Developing a model for composing and integrating these idioms within a Māori context presented problems, as traditional Māori music conflict with contemporary Western forms. 

To generate a framework and practical model for composing hybrid music, an examination of selected New Zealand works was first carried out through: a) the collection of 50 traditional and contemporary waiata relating to the Kīngitanga b) the collection of 10 New Zealand taonga pūoro works and c) a collection of 10 New Zealand electroacoustic music. An analysis of the music and compositional processes of each idiom implementing the ‘de-construct in order to re-construct’ approach to understand how they work musically and compositionally was accomplished. 

To demonstrate the outcome of my models, six original compositions were presented exploring different aspects of musical composition. These models focused on sound architecture and explored a) communicative relationships between composer, performer, and audience b) Holistic Co-hear-ence, implementing the horizontal and vertical layering model, and c) technical approaches using digital technology. To comply with Māori principles of composition and performance, each model and new work demonstrated Kaupapa Māori , Wairua  and Te Mana - Te Ihi - Te Wehi - Te Tapu . 

The findings and original contributions of this research provide a model that combines two musical traditions and three music idioms, and in turn, may guide contemporary composers in creating new works that extend the Kīngitanga music tradition.

text: Tito Waiata-Tito Pūoro: extending the Kīngitanga music tradition. Since 1858, music has always been an integral part of the Kīngitanga movement in New Zealand. As this music tradition evolves with the introduction of new musical idioms, genres and digital technology, so too do the practices of composing new works. 

The objective of this research was to construct a model for combining waiata, taonga pūoro and New Zealand electroacoustic music, in order to create new works that enhance the Kīngitanga music tradition.  Developing a model for composing and integrating these idioms within a Māori context presented problems, as traditional Māori music conflict with contemporary Western forms. 

To generate a framework and practical model for composing hybrid music, an examination of selected New Zealand works was first carried out through: a) the collection of 50 traditional and contemporary waiata relating to the Kīngitanga b) the collection of 10 New Zealand taonga pūoro works and c) a collection of 10 New Zealand electroacoustic music. An analysis of the music and compositional processes of each idiom implementing the ‘de-construct in order to re-construct’ approach to understand how they work musically and compositionally was accomplished. 

To demonstrate the outcome of my models, six original compositions were presented exploring different aspects of musical composition. These models focused on sound architecture and explored a) communicative relationships between composer, performer, and audience b) Holistic Co-hear-ence, implementing the horizontal and vertical layering model, and c) technical approaches using digital technology. To comply with Māori principles of composition and performance, each model and new work demonstrated Kaupapa Māori , Wairua  and Te Mana - Te Ihi - Te Wehi - Te Tapu . 

The findings and original contributions of this research provide a model that combines two musical traditions and three music idioms, and in turn, may guide contemporary composers in creating new works that extend the Kīngitanga music tradition.

year: 2014