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Theories in technology evaluation
Learning outcomes
1 Theories, paradigms and evaluation
1.1 Theories of assessment and evaluation
1.1.1 Universalist or contingency?
1.2 Methodological issues for evaluation
1.2.1 Experimental and quantitative approaches
1.2.2 Qualitative approaches
1.2.3 Mixed and multiple methods
1.2.4 Triangulation
1.3 An alternative perspective on causality
1.3.1 CCTV and crime reduction
1.4 Theory in assessment and evaluation
1.4.1 Theory-based approaches
1.4.2 Theories and paradigms of technology and society
1.4.3 Beyond technological determinism
1.5 Whose theories?
2 Stakeholders and evaluation
2.1 Defining stakeholders
2.2 The purpose of stakeholder involvement
2.3 Criticisms and complications of a participatory approach
3 Politics, assessment and evaluation
3.1 Individual politics
3.2 Professional politics
3.3 Stakeholder politics
3.4 Societal politics
3.5 The ‘hidden’ functions of evaluation
4 Ethics, validity, credibility and trust
4.1 Ethical considerations
5 Conclusion
Keep on learning
References
Acknowledgements

This free course is available to start right now. Review the full course description and key learning outcomes and create an account and enrol if you want a free statement of participation.

4.4 This affective use of ostinato formulas within larger musical structures is not confined to secular and dramatic compositions. Monteverdi’s sacred music also displays numerous examples of the use of ostinato as an expressive device within a larger structure. Psalm settings with their image-laden texts are especially prone to the use of short ostinato passages in order to signify musically the affect of individual verses. One such instance is found in Nisi Dominus a 3 voci, et 2 violini published in 1650. Nisi Dominus is a psalm with very distinct imagery. The initial verses offer the vanitas theme, leading into a first affective climax, the “panem doloris.” This is immediately contrasted by the positive promise of the “haereditas Domini”:

4.5 An analysis of Monteverdi’s posthumously published concertato setting of this psalm shows that he makes use of every single image Psalm 126 offers, translating each in an almost theatrical manner. In the context of Monteverdi’s use of ostinato, it is the change to the psalm’s positive theme, the promised heritage of the Lord, that is of special interest. The psalm text consists of two thematic parts, the vanitas exhortation of vv. 1–2 (a warning to those who toil without the benediction of the Lord) followed by the “consolation” of vv. 3–5, which is an enumeration of the Lord’s blessings. In seventeenth-century editions of the Bible, the line “Cum dederit dilectis suis somnum” is marked as a new verse, thus belonging to the positive theme of the psalm. Monteverdi accordingly uses this line for a radical change of affect. Following upon the utter despair of “you, who eat the bread of sorrows,” set in an almost theatrical declamatory manner, the line “Cum dederit dilectis suis somnum” blossoms into overflowing joy: “Ecce hereditas Domini, filii” (Lo, children are a heritage of the Lord). Children are the promise of a future, they are the token of life. Thus, “filii” becomes a cue word for utmost joy, and Monteverdi reflects the theological meaning unequivocally in his musical setting. After the protracted, dissonant cadence on “qui manducatis panem doloris,” the textually ambivalent “Cum dederit dilectis suis somnum” opens up a sudden outburst of energy in Monteverdi’s definitely positive interpretation—a lively concertato passage whose bass transitions to the major version of the descending tetrachord precisely at the promising “ecce hereditas Domini” ( Example 8 ).

4.6 It is at this point that the positive theme of the psalm clearly begins. Monteverdi turns “Cum dederit” into an opening signal that inaugurates a new dynamic process. The joyful impetus of dynamic movement in the following section is generated by the combination of a short cadential walking bass ostinato and concertato duets, as found in the Laetatus sum setting of 1650 or in Orfeo’s song of triumph, “Qual honor,” quoted above. As the promise of children is introduced, the rhythmic, cadential ostinato is transmuted into the major descending tetrachord bass formula with a double function: as an expression of both confidence and happiness in its repetition and combination with the lively concertato interplay of soloists and instruments, and as a musical signifier of the love, sensuality, and ecstatic joy inherent in the text. At “Sicut sagittae” with its graphic illustration of downward flying arrows, the direction of the ostinato formula is reversed, changing into a I-I 6 -IV-V cadence whose targeted harmonic orientation goes hand in hand with the image of “arrows in the hand of a mighty man.” The direction of the arrows is countered by the powerful, determined, and “obstinate” cadential motion of the upward moving bass. The result is a musical image of positive energy and vigor ( Example 9 ).

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In today’s crucial group stage match between England and Belgium, the Brits narrowly managed to come out on top by coming out on bottom of a hard-fought 1-0 loss. With this phenomenal loss, England won entry to the much weaker side of the knockout round bracket, and now have a clear lane to the World Cup semifinal.

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England and Belgium will meet tomorrow at Kaliningrad Stadium in a match that will decide which…

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It’s been clear for a while now that the real winner of this game would be the team that lost, and before the match even started, you could tell how determined both teams were to snatch this pivotal L. England and Belgium ran out heavily rotated lineups that featured hardly any of the players that won each of their two previous group stage matches. On paper, it looked like Belgium had a slight advantage when it came to throwing the match, with Roberto Martínez savvily lining up a handful of players out of position. Forwards Thorgan Hazard and Nacer Chadli both played wing back, and Leander Dendoncker started out in central defense. Surely, the more naturally positioned Englishmen would accidentally score a goal or two against such wildly ill-equipped defenders.

However, the Brits were not to be undone so easily. England’s lineup was also far from balanced. This was most clearly demonstrated in England’s lack of players who like to pass. Because of this passing deficiency, England conceded the possession battle to their more attack-minded Belgian opponents and succeeded in failing to create many chances to score. Belgium’s ball hogs had 54 percent of the possession and popped off 14 shots to England’s 11. The worst shot of the day was this Adnan Januzaj beauty that, unfortunately for the Red Devils, curled into the top corner of England’s goal and gave Belgium the lead:

The only Belgian player who really seemed to understand the true goal of the match was Michy Batshuayi:

(This is probably because the other Belgians, even with the knowledge that they were out there rather than their superior teammates to increase their team’s chances of losing, wanted to impress the manager in hopes of earning playing time in a future game that the team will actually be interested in winning. Batshuayi, meanwhile, must know that Romelu Lukaku is by far the better player and will keep his starting spot for as long as he is healthy.)

In contrast to Januzaj, Rashford knew how important a loss was for his team. When given a one-on-one with the Belgium keeper, rather than play an easy pass for Ruben Loftus-Cheek for a probable tap-in, the Manchester United striker whipped in a shot himself at just the right angle to make it savable for the keeper but not so mis-hit that he couldn’t maintain plausible deniability that he was trying to score:

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