title: Controlled intoxication: the self-monitoring of excessive alcohol use within a New Zealand tertiary student sample

authors: McEwan, Brett James

subjects: drinking

abstract: Aims: Drawn from a study aimed at exploring students’ drinking behaviour and attitudes, this article focuses upon findings that revealed how heavy-drinking students monitored and managed their experiences of alcohol intoxication.
Methods: 819 students residing within three university student residences were invited to participate in three phases of data collection. Utilising a combination of qualitative and quantitative research methods, a total of 15 focus group interviews and 18 indepth interviews were undertaken, and 501 students (61%) completed a written survey questionnaire. 
Results: Sixty percent of students agreed with the statement “I usually know beforehand if I am going to get drunk”. One-half of male drinkers and one-third of female drinkers reported they were intoxicated on a weekly basis. When drinking to intoxication, the majority of students monitored a range of drinking effects (a total of 14 were identified) which they considered were signals for the need to either slow down or stop drinking. 
Conclusions: The majority of drinkers in this study who consume alcohol with the intention of getting intoxicated, typically drink to a predetermined level of intoxication, and maintain that level by monitoring a range of drinking effects—this behaviour has been termed controlled intoxication. Future harm-minimisation strategies could be developed that encourage heavy-drinkers to adopt ‘safer’ drinking-effect signals as indicators to slow down or stop drinking.

text: Controlled intoxication: the self-monitoring of excessive alcohol use within a New Zealand tertiary student sample Aims: Drawn from a study aimed at exploring students’ drinking behaviour and attitudes, this article focuses upon findings that revealed how heavy-drinking students monitored and managed their experiences of alcohol intoxication.
Methods: 819 students residing within three university student residences were invited to participate in three phases of data collection. Utilising a combination of qualitative and quantitative research methods, a total of 15 focus group interviews and 18 indepth interviews were undertaken, and 501 students (61%) completed a written survey questionnaire. 
Results: Sixty percent of students agreed with the statement “I usually know beforehand if I am going to get drunk”. One-half of male drinkers and one-third of female drinkers reported they were intoxicated on a weekly basis. When drinking to intoxication, the majority of students monitored a range of drinking effects (a total of 14 were identified) which they considered were signals for the need to either slow down or stop drinking. 
Conclusions: The majority of drinkers in this study who consume alcohol with the intention of getting intoxicated, typically drink to a predetermined level of intoxication, and maintain that level by monitoring a range of drinking effects—this behaviour has been termed controlled intoxication. Future harm-minimisation strategies could be developed that encourage heavy-drinkers to adopt ‘safer’ drinking-effect signals as indicators to slow down or stop drinking.

year: 2011

title: Portfolio of Compositions

authors: Wragg, Jeffrey Stephen

abstract: This portfolio is made up of eight works. Et Tu mixes both acoustic and electronic instruments. In addition to traditional compositional techniques it also utilizes digital effects as a means of enhancing the composition. Following that is a collection of four short piano etudes. These pieces were composed as studies of the Tone Clock theory, primarily as a means of acquainting myself with the principles behind the Tone Clock. The first etude, Tea with Chopin, is based on the third hour and utilizes a synthetic scale which I then harmonized to create a unique harmonic palette. Coffee with Beethoven is based on the second hour of the Tone Clock and relies heavily on the octatonic scale. Absinthe with Ligeti is based on the fourth hour. Unlike the previous etudes it is atonal and uses some very complex rhythms.  The final etude, Early Morning Raindrops on a Misty Pond, is based on the ninth hour of the Tone Clock. The two hands of the piano play in a highly syncopated manner, creating a free flowing rhythmic texture. The way in which I used the Tone Clock in this piece, as well as its gesturing quality, provided the most insight into the composition of Symphony No. 2. Vengeance is a polystylist piece, blending popular and orchestral music. Through the use of vocals and spoken word it ponders the question of the nature of God and the place of religion in the world. The Call of Capistrano is a piece for solo classical guitar. It is based on sonata form and incorporates percussive elements such as striking the body of the guitar. The portfolio  concludes with Symphony No. 2. It is contemporary in style, with little reference to the symphonic writing of the Classical and Romantic periods. Instead it draws inspiration from 20th century composers such as Lutoslawski and Penderecki. While all the pitches are strictly controlled there are many aleatoric sections where certain liberties can be taken with the rhythms notated and each family of the orchestra will not always play together as a unified section.

text: Portfolio of Compositions This portfolio is made up of eight works. Et Tu mixes both acoustic and electronic instruments. In addition to traditional compositional techniques it also utilizes digital effects as a means of enhancing the composition. Following that is a collection of four short piano etudes. These pieces were composed as studies of the Tone Clock theory, primarily as a means of acquainting myself with the principles behind the Tone Clock. The first etude, Tea with Chopin, is based on the third hour and utilizes a synthetic scale which I then harmonized to create a unique harmonic palette. Coffee with Beethoven is based on the second hour of the Tone Clock and relies heavily on the octatonic scale. Absinthe with Ligeti is based on the fourth hour. Unlike the previous etudes it is atonal and uses some very complex rhythms.  The final etude, Early Morning Raindrops on a Misty Pond, is based on the ninth hour of the Tone Clock. The two hands of the piano play in a highly syncopated manner, creating a free flowing rhythmic texture. The way in which I used the Tone Clock in this piece, as well as its gesturing quality, provided the most insight into the composition of Symphony No. 2. Vengeance is a polystylist piece, blending popular and orchestral music. Through the use of vocals and spoken word it ponders the question of the nature of God and the place of religion in the world. The Call of Capistrano is a piece for solo classical guitar. It is based on sonata form and incorporates percussive elements such as striking the body of the guitar. The portfolio  concludes with Symphony No. 2. It is contemporary in style, with little reference to the symphonic writing of the Classical and Romantic periods. Instead it draws inspiration from 20th century composers such as Lutoslawski and Penderecki. While all the pitches are strictly controlled there are many aleatoric sections where certain liberties can be taken with the rhythms notated and each family of the orchestra will not always play together as a unified section.

year: 2012

title: A brief history of Whakapapa: Māori approaches to genealogy

authors: Mahuika, Nepia

subjects: whakapapa

abstract: Whakapapa is the Māori term for genealogy. It has been described by some as the skeletal structure of Maori epistemology because all things have their own genealogies. In research, whakapapa has been presented in tribal histories, Maori Land Court records, and consistently as a framework for matauranga Māori (Māori knowledge) and Māori research methodologies. This essay offers a brief overview of the ways in which whakapapa has been understood and negotiated in research particularly after the arrival of Europeans. Some early ethnographers, for instance, applied their own genealogical methods of dating to whakapapa, which influenced various Māori approaches from the twentieth century. With the advent of literacy and print, Māori experimented with new ways to record genealogy, and yet the underlying oral, ethical, and cultural practices that are crucial to whakapapa have remained integral to how it still lives and operates in Maori communities today.

text: A brief history of Whakapapa: Māori approaches to genealogy Whakapapa is the Māori term for genealogy. It has been described by some as the skeletal structure of Maori epistemology because all things have their own genealogies. In research, whakapapa has been presented in tribal histories, Maori Land Court records, and consistently as a framework for matauranga Māori (Māori knowledge) and Māori research methodologies. This essay offers a brief overview of the ways in which whakapapa has been understood and negotiated in research particularly after the arrival of Europeans. Some early ethnographers, for instance, applied their own genealogical methods of dating to whakapapa, which influenced various Māori approaches from the twentieth century. With the advent of literacy and print, Māori experimented with new ways to record genealogy, and yet the underlying oral, ethical, and cultural practices that are crucial to whakapapa have remained integral to how it still lives and operates in Maori communities today.

year: 2019