This problem is intended to be an introduction to the design of a software system which translates PDP-8 assembly language source into it's machine-readable object code. This assembler runs on the IBM 360/50. It is assumed that the reader is familiar with the basic PDP-8 assembly language. For the description and use of this assembler the reader is referred to the PAL-III SYMBOLIC ASSEMBLER PROGRAMMING MANUAL from DEC (order number DIGITAL 8-3-5, Digital Equipment Corporation: Maynard, Massachusetts, 1965.). The Second problem of the study concerns the design of a simulator for the PDP-8 computer.

The objective of this work is to help the faculty, staffs and students of NTSU to use the CalComp plotting facility very easily. Therefore, this work is written in such a step by step and self-explanatory way to help the reader to understand and grasp the essential technique of the computer plotting. Each subroutine illustrated in this work has been run and checked by our NTSU computer-CalComp plotting facility; the results of sample programs and illustrated graphs are believed to be very useful to understand each individual subroutine. Basically, software packages are stored in the magnetic disk of the IBM 360 computer as the standard graphic subroutines. These subroutines were written in FORTRAN IV. The user can write the driving program to call these subroutines and also inputs the desire data to the computer for computation. The results of computation will be outputed and stored in the magnetic tape.

PILOT (Programmed Inquiry, Learning or Teaching) is a simple, conversational language developed in 1969 by John A. Starkweather at the University of California Medical Center in San Francisco. Originally designed for computer assisted instructional needs, PILOT also has been effectively used as an introductory computer language. The PILOT system developed for the Apple II microcomputer consists of two programs, PILOT EDITOR and PILOT DRIVER, which are written in Applesoft and which use the Apple II disk operating system. The PILOT system was designed to facilitate easy authoring and execution of programs written in an extended version of the PILOT language. Due to the memory requirements of the programs and the Apple II disk operating system, the PILOT system described here should be executed on a machine with at least 32k bytes of random access memory.

The primary purpose of this investigation was to acquire information about the fundamentals of participating in group and one-person shows. The assumption was made that upon acquiring this basic information an understanding of the intricacies of the larger exhibition procedure could be attained. I proposed to investigate aspects important to the production, selection, and installation of my work in a formal gallery setting.

As a painter, I have been working the past few years to develop a mature pictoral image and the concepts of space that were flexible enough for me to produce what I believed was a valid art statement. I have investigated several avenues for improving my work, i.e., acquiring certain technical painting skills, reading more to broaden my concepts and imagination, and visiting various art galleries and museums. During an earlier critique it was realized that the majority of my paintings were all very similar in scale. I decided to approach my work on a much larger scale than previously attempted in the hopes of discovering a better, or at least different painting concept.

For my project, I chose to construct ten containers in which clay and non-traditional drawings were combined. The various materials used were ceramics, drawings on Plexiglas, wood, and other found materials. The questions to be answered by the completion of the ten pieces were the following: 1. What types of containers are most complimentary in combining ceramics and drawings? 2. What types of drawing media are most successful for combining drawings with ceramics? 3. What types of presentation are most successful? 4. What three-dimensional materials other than ceramics are visually important in the combined pieces?

Interspersed color blend lithography is a technique that facilitates simultaneous multi-colored printing. The problem of color blending was to gain control over the process and explore a variety of uses. The research was entirely experimental. Interspersed color blend lithography is a unique process that allows for the application of any number of colors at one time, and complete freedom in their placement. The results of the investigation produced a process that is at once predictable, simple and immediate.

Up until this time I have made little effort to investigate the mental processes that I use in the development of these metaphors. I believe these processes are on the unconscious or semiconscious level, and I am interested in finding out how these processes work in the development of the metaphors. I believe these processes are on the unconscious or semiconscious level, and I am interested in finding out how these processes work in the development of the metaphors. I therefore decided on a creative project that would investigate the use of the metaphor in my art work. In order to discover something about the development of my metaphors, I asked myself questions during a period of artistic work.

The problem for the project emerged threefold: (1) to further explore the uses of the graphite medium including the possible integration of wet media color on large surfaces, (2) to use the human figure as subject matter, and (3) to explore gessoed drawing surfaces of masonite and paper.

This problem concerns the feasibility of combining the elements of light and clay in a sculptural concept of design. The study has determined various procedures of combining the sculptural ceramic forms for the internal inplant of light sources. Specific questions posed were 1. Can the surface decoration be enhanced by external and internal lighting? 2. How does each surface quality, raku, and low-fire salt glaze differ with the interplay of light? 3. In what way may two surface qualities be applied to the same sculptural ceramic forms? 4. How does scale effect each of the pieces?

The questions I have addressed in regard to neutralization were as follows: 1. How important was the figure to the environment? 2. How far could the figure's physical presence be reduced and still contribute to the concepts of the painting? 3. How vividly was the figure presented while still complying with the requirements to meet neutralization? 4. Did color and texture aid in neutralizing the figure, and, if so, how? 5. Did the scale of the paintings have any effect on the neutralization process?

The questions answered by this investigation were as follows: 1. Will a clay surface accept multiple emulsions and multiple development processes with little or no loss of detail? 2. Can a gum-bichromate print be accomplished using a normal 35 millimeter negative in an enlarger? 3. What is the effect of different oxides and fluxes on the emulsion? and 4. What is the effect of firing on the experimental emulsions?

The concern in this project was the utilization of metal joining processes which used no heat in the construction of sculpture. The problem area was motivated by an attempt to avoid some of the inherent problems and limitations incurred when welding, brazing soldering are employed. Specifically, the following questions were considered: 1) Can the non-heat joining process be utilized as a design element? 2) Does non-heat joining allow the use of lighter (30-16) gauge metal? 3) Are distortion and bracing problems reduced by use of non-heat joining processes? 4) Can more diverse metals such as aluminum, copper, brass and bronze be utilized in these processes? 5) Do these non-heat processes make allowances for manipulation of the metal prior to the construction of the sculpture?

The purpose of this problem was to investigate the advantages and possible limitations of horizontal, vertical, and contour laminating to the sculptural form. Specific questions were set forth to help determine the different aspects of these types of lamination. The specific questions for which answers were sought are as follow. 1. How complex a design can be executed by the laminating process? 2. How close to the design will the initial lamination be? 3. What are the best methods of lamination for each process: types of clamps, types of wood, types of glue, dowels and weights? 4. How successful may these lamination techniques be combined? 5. As the work was in progress, which became more important-- the surface quality or the form? 6. Will laminated forms remain stable?

This is a method in which designs as a whole are not pre-planned or pre-arranged, but are developed by applying layers of color. This is an additive method for obvious reasons, and it is subtractive because shapes can be covered with opaque paint or very intense stain. Transparent layers of color applied over existing colors cause hue changes, and the process creates subtleties resulting from one color showing through another.

The purpose of this project was to investigate the possibilities of reorganizing space by arranging woven modules. These units were to be separable and flexible in regard to their spacial relationships and interrelatedness in any installation. This problem was examined in these specific ways: 1) Is it possible to create a sense of volume in forms woven flat on a standard floor loom as simple, single-layer or double-layer fabrics and later manipulate them into three-dimensional structures? 2) how can fundamentally simple, fibrous materials be utilized to achieve an effect of scale without overpowering their intrinsic qualities? 3) To what extent, if any, will lighting interact with woven fabric to create the illusion of an extended space? 4) can woven modules be created with enough flexibility of form to be responsive to varying relationships to each other and to specific installation spaces?

It is the purpose of this study to visually and technically explore the combination of the direct methods of drawing and painting and the more indirect process of silkscreen printing on canvas. The flexibility of the three technical areas- silkscreen, drawing, and painting- proved to make the combination more feasible.

The primary concerns and problems which were addressed in this project were: 1. were the shaped formats more of less effective when derived directly from maps and/or photographic panoramas as opposed to deriving them from my own memory and imagination? 2.Was the negative space in which the intaglio prints float, more or less effective than the paintings and drawings which have no bordering negative space? 3. What differences exist in the spontaneous imagery when putting down the initial marks, with my eyes closed, as opposed to when my eyes were open. 4. Did values painted, drawn, or printed over the spontaneous imagery expand the spacial implications and enhance the overall coordination? 5. What problems arose in construction of the shaped formats, how they were solved, and what was the best way to finish the edges for presentation?

This paper discusses the pianist problems in the fifth sonata created by Alexander Nikolayevich Scriabin and provides historical background to the works of the composer before analyzing his work.

This paper highlights aspects of unity in Ludwig van Beethoven's Piano Sonata Op. 81A. Jannis M. Peterson provides historical background to the work, identifies the problem of unity, and analyzes the piece.

This paper explores the history and creation of Maurice Ravel's Valses nobles et sentimentales and its predecessors. Walter M. Coldewey explores the waltz and its expression through Maurice Ravel's work, as well as the works that influenced him.

This paper explores the connection between the Commedia dell'arte and the opera buffa genre and asserts that performers should be aware of this connection. John Arden Hopkin explores the history of the Commedia dell'arte and the rise of opera buffa.

This paper explores the development of the practice of etudes and provides technical solutions for Frédéric Chopin's Etudes, Op. 10. David McKamie explores each etude in turn and considers various methods to perform them.

This paper analyzes Hector Berlioz's song cycle Les Nuits d’été, Opus 7, for the purpose of performance. Along with musical analysis, Anna Ruth Stone also provides background about the poet Théophile Gautier and describes the appeal of the Berlioz's song cycle.