Need for learning management systems in higher education in subject that involve programming languages

Subjects that are teaching programming languages may contain different approaches\ud to learning, depending on the level of preparedness of students and the methodology used by\ud the teaching staff in the lectures and exercises. Because of the need for practical work in\ud programming, the introduction of e-learning support system for students can be as useful as it\ud is for them and for teachers. Attaching the materials to a local system (intranet) and the\ud possibility of accessing them and the program codes of classes, lessons and ancillary\ud materials for exercises can bring increased efficiency and increased degree of control of the\ud organization and behavior of students in class.\ud With the ability to simultaneous usage of necessary materials from the system,\ud explanations of the professor and the opportunity for practical work, students very quickly\ud can recognize the effects of learning and become more motivated for learning more content\ud during class. The professor, who had previously set the material to the system has a feedback\ud of student achievements in class, the problems that occurred and the way they were solved,\ud and the time they spent to solve the problem. Students themselves have the opportunity to see\ud whether they learned and can evaluate their knowledge through questions that are posed at\ud the end the lesson

Elements of Structural Syntax

This volume is now finally available in English, sixty years after the death of its author, Lucien Tesnière. It has been translated from the French original into German, Spanish, Italian, and Russian, and now at long last into English as well. The volume contains a comprehensive approach to the syntax of natural languages, an approach that is foundational for an entire stream in the modern study of syntax and grammar. This stream is known today as dependency grammar (DG). Drawing examples from dozens of languages, many of which he was proficient in, Tesnière presents insightful analyses of numerous phenomena of syntax. Among the highlights are the concepts of valency and head-initial vs. head-final languages. These concepts are now taken for granted by most modern theories of syntax, even by phrase structure grammars, which represent, in a sense, the opposite sort of approach to syntax from what Tesnière was advocating

The Musical Realism of Leoš Janáček : From Speech Melodies to a Theory of Composition

The present study discusses the Czech composer Leoš Janáček (1854 1928) as a music theorist. The general aim of the study is to examine the composer's aesthetics and compositional style in the light of his theoretical writings. These writings consist of versatile articles and autographs (including also drafts for lectures) on the theory of music (harmony, rhythm, theory of composition), folk music, acoustics, psychology, linguistics, and the so-called speech melodies. The study also considers the connection between the composer's musical theories and his compositional development. For this purpose an overview of the problems of style and identity is made in the first part of the dissertation, which discusses the transformation and metamorphoses of style in the different developmental phases of the composer. The second part of the dissertation introduces the sources that influenced Janáček's theoretical thought, involving both music theory and aesthetics and philosophy of the late 19th century, especially in the Czech Lands. Janáček's writings have been interpreted especially in the context of the intellectual climate in the Czech Lands of the late nineteenth century. Understanding Janáček's highly individual theoretical terminology requires an analysis of its most influental sources, to which the philosophical psychology and aesthetic formalism of Johann Friedrich Herbart and subsequently, Czech Josef Durdík, belong. This tradition was continued by the experimental research of Hermann von Helmholtz and Wilhelm Wundt in psychology. Janáček's views on harmony and rhythm were largely based on this scientific research, from which he also gained new impetus for his theory of speech melodies. The focus of Part III is on the direct analysis, explanation and interpretation of the composer's individual theoretical writings of different musical realms, such as his theory of speech melodies, his theory of harmony and rhythm, and his theory of so-called complicating composition. As Part III is the cornerstone of the study it is also its largest part. It discusses many, thus far, unknown areas and writings in Janáček's theoretical output, e.g., the theory of rhythmic organization (sčasování) and his lectures on the theory of composition at the turn of 1910s and 1920s. The aim of this final part of the study is to interconnect the composer's different theoretical interests and to consider their influence on his actual creative work. Thus the overall methodological approach is a transdisciplinary reading of the composer's texts. So far the discussion of Janáček's realism (or naturalism) has been largely focused on his theory of speech melodies, operas, and musical style in general. Janáček's other theories, which in this text can be called subtheories, complement the question of realism, particularly in his aesthetics and in his theory of composition. For example, his theory of rhythmic organization, of complex reactions and complicating composition are closely related to his ideas of motives and architectonics of musical form. My research therefore attempts to examine these areas in the profile of Janáček the theorist and composer from an interdisciplinary and transdisciplinary point of view.Musiikkitieteen oppiaineeseen kuuluva väitöskirja The Musical Realism of Leoš Janáček tarkastelee tšekkiläisen säveltäjän Leoš Janáčekin (1854 - 1928) musiikinteoriaa ja estetiikkaa. Väitöskirjan keskiössä ovat säveltäjän kirjoitukset (harmoniaoppikirja, artikkelit, käsikirjoitukset, luentoluonnokset) musiikin eri alueista: harmoniasta, rytmistä, sävellyksen teoriasta, kansanmusiikista, akustiikasta, psykologiasta, kielitieteestä ja niin sanotuista puhemelodioista. Tutkimus pohtii myös säveltäjän tyylin ja identiteetin kysymyksiä ja niiden yhteyttä hänen teoreettisten kiinnostustensa kohteisiin. Tutkimuksen metodologisena perusteena on säveltäjän tuotannon transdisiplinäärinen lukeminen ja tulkinta. Janáčekin luovaa työtä lähestytään myös semioottisesta ja interdisiplinäärisestä näkökulmasta