for SSSAA unaccompanied. The opening of this motet displays Massaino's skill in the art of word-painting with soaring lines that play on the word 'arise' (Surge). Punctuated with occasional homophonic writing, the beautiful melodic lines find clever use of imitation across all voices. The secunda pars increases the quick imitation of the vocal lines, mirroring the excitement of the text 'the time of pruning has come' (Tempus putationis advenit). This, coupled with the introduction of shorter note values, creates a joyful celebration of the text from the Song of Songs. Offprinted from The Oxford Book of Upper-Voice Polyphony.

for SSSA unaccompanied. Palestrina's setting of the Marian motet Alma Redemptoris Mater seamlessly interweaves each of the four independent voices based on the solemn tone of the corresponding chant. Offprinted from The Oxford Book of Upper-Voice Polyphony.

for SSA unaccompanied Clemens composed two settings of the Marian text Ego flos campi, one scored for mixed choir of seven voices and this other, more intimate, setting for three voices. Here the voices weave beautiful counterpoint with attractive independent melodies.

for SSAA double choir unaccompanied. In this compelling motet for the Feast of the Holy Trinity, Handl artfully embodies symbolism of the Trinity within the motet's structure. The three verses surrounded by a refrain of 'O beata Trinitas' may have been deliberately chosen to represent the Trinity, as it is the only example where Handl includes a true refrain. Offprinted from The Oxford Book of Upper-Voice Polyphony.

for SSA unaccompanied. This motet in two parts is devotional in character, with each section opening with homophonic writing before elaborating on close imitative polyphonic lines. The motet demonstrates a mature writing style that would be expected of a composer years beyond the age of the young Monteverdi. The text is based on the first two stanzas of a prayer attributed to Pope Gregory I that contemplates the Passion of Our Lord. Offprinted from The Oxford Book of Upper-Voice Polyphony.

for SSAA unaccompanied. Consisting of two sections, this large-scale Christmas motet opens with a rich homophonic texture that is synonymous with Victoria's compositions. This is followed by imitation in the vocal lines before a triple-metre section of resounding 'alleluia's. The secunda pars begins with new melodic lines that are beautifully explored before a reprise of the music from the prima pars. Offprinted from The Oxford Book of Upper-Voice Polyphony.

for SA unaccompanied This simple, charming two-part motet features long melismatic phrases that reflect the text (1 Corinthians 2: 9), such as the rising melodic line over three bars on the word 'ascended' (ascendit).

for SSAA unaccompanied. This Marian text for Eastertide, Regina caeli, was set four times by Morales. This setting for four voices was first published in the Spanish composer's 1543 collection and notated in high clefs. The simple-tone plainchant hymn is strongly referenced in each of the vocal lines, with Alto 1 dedicated as a cantus firmus for the majority of the piece. Offprinted from The Oxford Book of Upper-Voice Polyphony.

for SSSAA unaccompanied. Recent scholarship postulates that this anonymous motet for the Feast of the Assumption of the Blessed Virgin Mary was in fact written by Leonora d'Este, daughter of Duke Alfonso I and Lucrezia Borgia, and abbess of the Corpus Domini Convent in Ferrara. The music and style of d'Este's compositions are skilful in the art of polyphonic writing and the beautiful Sicut lilium inter spinas, written for five voices, is a fine example of this style. Offprinted from The Oxford Book of Upper-Voice Polyphony.

This book, originally published in 1992, encapsulates ten years of research at the Open University's Human Cognition Research Laboratory. The research investigates the problems of novice programmers, and is strongly oriented toward the design and implementation of "programming environments" aimed at eliminating or easing novices' problems. A range of languages is studied: Pascal, SOLO, Lisp, Prolog and "Knowledge Engineering Programming". The primary emphasis of the empirical studies is to gain some understanding of novices' "mental models" of the inner workings of computers. Such (erroneous) models are constructed by novices in their own heads to account for the idiosyncrasies of particular programming languages. The primary emphasis of the implementations described in the book is the provision of "automatic debugging aids", i.e. artificial intelligence programs which can analyse novices' buggy programs, and make sense of them, thereby providing useful advice for the novices. Another related strand taken in some of the work is the concept of "pre-emptive design", i.e. the provision of tools such as syntax-directed editors and graphical tracers which help programmers avoid many frequently-occurring errors. A common thread throughout the book is its Cognitive Science/Artificial Intelligence orientation. AI tools are used, for instance, to construct simulation models of subjects writing programs, in order to provide insights into what their deep conceptual errors are. At the other extreme, AI programs which were developed in order to help student debug their programs are observed empirically in order to ensure that they provide facilities actually needed by real programmers. This book will be of great interest to advanced undergraduate, postgraduate, and professional researchers in Cognitive Science, Artificial Intelligence, and Human-Computer Interaction.

This book, originally published in 1992, encapsulates ten years of research at the Open University's Human Cognition Research Laboratory. The research investigates the problems of novice programmers, and is strongly oriented toward the design and implementation of "programming environments" aimed at eliminating or easing novices' problems. A range of languages is studied: Pascal, SOLO, Lisp, Prolog and "Knowledge Engineering Programming". The primary emphasis of the empirical studies is to gain some understanding of novices' "mental models" of the inner workings of computers. Such (erroneous) models are constructed by novices in their own heads to account for the idiosyncrasies of particular programming languages. The primary emphasis of the implementations described in the book is the provision of "automatic debugging aids", i.e. artificial intelligence programs which can analyse novices' buggy programs, and make sense of them, thereby providing useful advice for the novices. Another related strand taken in some of the work is the concept of "pre-emptive design", i.e. the provision of tools such as syntax-directed editors and graphical tracers which help programmers avoid many frequently-occurring errors. A common thread throughout the book is its Cognitive Science/Artificial Intelligence orientation. AI tools are used, for instance, to construct simulation models of subjects writing programs, in order to provide insights into what their deep conceptual errors are. At the other extreme, AI programs which were developed in order to help student debug their programs are observed empirically in order to ensure that they provide facilities actually needed by real programmers. This book will be of great interest to advanced undergraduate, postgraduate, and professional researchers in Cognitive Science, Artificial Intelligence, and Human-Computer Interaction.

This book presents a selection of revised refereed papers taken from the contributions to the Second European Workshop on Case-Based Reasoning, EWCBR-94, held at the Abbaye de Royaumont near Paris in November 1994. The 22 papers included were chosen from a total of 60 submissions. The important evolution by experienced artificial intelligence during the last few years has been essentially influenced by case-based reasoning, particularly by the area of knowledge-based decision support. This book documents the progress achieved in CBR methods and tools during the very recent past. It also outlines the substantial success achieved in the applications domain, especially in the fields of architecture and computer-aided design, task planning, chemical synthesis, maintenance and diagnosis, and law.

The Oxford Book of Upper-Voice Polyphony is a collection of carefully curated and edited Renaissance works. Scholarly yet practical, this volume is an invaluable addition to the library of any choir looking to explore this rich genre in liturgical or concert settings.