Identity of a Tilapia Pheromone Released by Dominant Males that Primes Females for Reproduction

Knowledge of the chemical identity and role of urinary pheromones in fish is scarce, yet it is necessary in order to understand the integration of multiple senses in adaptive responses and the evolution of chemical communication [1]. In nature, Mozambique tilapia (Oreochromis mossambicus) males form hierarchies, and females mate preferentially with dominant territorial males, which they visit in aggregations or leks [2]. Dominant males have thicker urinary bladder muscular walls than subordinates or females and store large volumes of urine, which they release at increased frequency in the presence of subordinate males or preovulatory, but not postspawned, females [3–5]. Females exposed to dominant-male urine augment their release of the oocyte maturation-inducing steroid 17α,20β-dihydroxypregn-4-en-3-one (17,20β-P) [6]. Here we isolate and identify a male Mozambique tilapia urinary sex pheromone as two epimeric (20α- and 20β-) pregnanetriol 3-glucuronates. We show that both males and females have high olfactory sensitivity to the two steroids, which cross-adapt upon stimulation. Females exposed to both steroids show a rapid, 10-fold increase in production of 17,20β-P. Thus, the identified urinary steroids prime the female endocrine system to accelerate oocyte maturation and possibly promote spawning synchrony. Tilapia are globally important as a food source but are also invasive species, with devastating impact on local freshwater ecosystems [7, 8]. Identifying the chemical cues that mediate reproduction may lead to the development of tools for population control [9–11].

A multi-component pheromone in the urine of dominant male tilapia (Oreochromis mossambicus) reduces aggression in rivals

Males often use scent to communicate their domi- nance, and to mediate aggressive and breeding behaviors. In teleost fish, however, the chemical composition of male pher- omones is poorly understood. Male Mozambique tilapia, Oreochromis mossambicus, use urine that signals social status and primes females to spawn. The urinary sex pheromone di- rected at females consists of 5β-pregnane-3α,17α,20β-triol 3- glucuronate and its 20α-epimer. The concentration of these is positively correlated with male social rank. This study tested whether dominant male urine reduces aggression in receiver males, and whether the pregnanetriol 3-glucuronates also re- duce male-male aggression. Males were allowed to fight their mirror image when exposed to either: i) water control or a chemical stimulus; ii) dominant male urine (DMU); iii) C18- solid phase (C18-SPE) DMU eluate; iv) C18-SPE DMU eluate plus filtrate; v) the two pregnanetriol 3-glucuronates (P3Gs); or vi) P3Gs plus DMU filtrate. Control males mounted an increas- ingly aggressive fight against their image over time. However, DMU significantly reduced this aggressive response. The two urinary P3Gs did not replicate the effect of whole DMU. Neither did the C18-SPE DMU eluate, containing the P3Gs, alone, nor the C18-SPE DMU filtrate to which the two P3Gs were added. Only exposure to reconstituted DMU (C18-SPE eluate plus filtrate) restored the aggression-reducing effect of whole DMU. Olfactory activity was present in the eluate and the polar filtrate in electro-olfactogram studies. We conclude that P3Gs alone have no reducing effect on aggression and that the urinary signal driving off male competition is likely to be a multi-component pheromone, with components present in both the polar and non-polar urine fractions.

The twentieth century jazz piano trio: the rise of an iconic jazz paradigm

Considerando a gravação de 1947 The Bud Powell Trio como a gravação referência de trio de piano de jazz moderno, esta tese centra-se no surgimento e evolução do trio de jazz moderno cujo líder é pianista. Começando por apresentar, uma resenha dos estilos e técnicas para piano de da época pre-Powell, esta tese investiga a génese dos trios de piano jazz e examina três dos mais influeciais pianostas de jazz e lideres dos mais legendários trios de piano jazz modernos: Bud Powell, Bill Evans e Keith Jarrett. Esta tese também abordará o paradoxo inerente a um sistema democrático - a expressão própria do individuo, em justaposição com a responsabilidade para com o todo – e a sua inequivoca analogia com o gestalt do trio de piano de jazz moderno. Desde a primeira gravação de um trio de jazz com pianista como líder em 1935, o trio de jazz moderno, evoluiu tornando-se um exemplo de democracia – um contexto de igualdade em que as funções rítmicas, harmónicas, e melódicas estão igualmente distribuídas entre os três instrumentistas, que são ao mesmo tempo solistas e acompanhadores. Esta tese sublinha a eficácia do trio de jazz moderno – o seu início, e porque subsiste – baseado na sua força e beleza estética; ABSTRACT: THE TWENTIETH CENTURY JAZZ PIANO TRIO – The Rise of an Iconic Jazz Paradigm by Susan Muscarella Designating Bud Powell’s 1947 recording, The Bud Powell Trio, as the modern jazz piano trio benchmark, here, this thesis traces the emergence and evolution of the pianistled, piano-bass-drums-comprised modern jazz piano trio. Beginning with a general overview of pre-Powell jazz piano styles and techniques, this thesis investigates the earliest, most salient pre-Powell jazz piano trios, and examines three seminal modern jazz pianists and leaders of legendary modern jazz piano trios, Bud Powell, Bill Evans and Keith Jarrett. This thesis also brings to the fore the paradox inherent in a democratic system – individual self-expression juxtaposed with responsibility to the whole – and its unequivocal analogy to the modern jazz piano trio gestalt. From the earliest recording of a primarily piano-dominated piano-bass-drums-comprised jazz piano trio in 1935, the modern jazz piano trio has evolved to become a paragon of democracy – an egalitarian playing field in which rhythmic, harmonic and melodic roles are evenly distributed among all three instrumentalists who have come to serve as both soloists and accompanists.