Each school of koto music from the courtly tradition to the present time involves changes in the structure of the instruments as well as changes in playing method and notation.
The structure of covariant instruments is studied and a general structure theorem is derived.
Methodological problems remain in the structure of these instruments: the MPI contains only one perspective (spouse response to pain behaviour), the FPS contains two perspectives (spouse response to pain and to well behaviour) but with slightly different conceptual explanations.
In contrast, the structure of some instruments is to sum multiple subscales [ 38, 40] or to test multiple criteria for each sedation level [ 36, 37], thus adding complexity and potentially impairing ease of recall.
This greatly simplifies the structure of the instrument.
However, because this is a strictly categorical variable with 21 nominal response possibilities, it is not appropriate to include when establishing the structure of the instrument.
Results showed that after only one exercise designed to increase self-knowledge, high school students in the experimental group elaborated "self-schemata" that encompassed the five dimensions corresponding to the structure of the instrument used.
These results suggest that the structure of this instrument can be considered mostly unidimensional, and are in line with the theory which defines stagnation as a single yet heterogeneous syndrome manifesting itself with psychological, behavioral, and physiological symptoms.
This means that the structure of the instrument was the same as in the original.
Another PCFA was computed on the 26 remaining items to determine the structure of the instrument.
