Compressed Air, Wooden Clappers, and Other Non-Traditional Methods for Dispersing European Starlings from an Urban Roost

During autumn 2003, several thousand European starlings (Sturnus vulgaris) began roosting on exposed I-beams in a newly constructed, decorative glass canopy that covered the passenger pick-up area at the terminal building for Cleveland Hopkins International Airport, Ohio. The use of lethal control or conventional dispersal techniques, such as pyrotechnics and fire hoses, were not feasible in the airport terminal area. The design and aesthetics of the structure precluded the use of netting and other exclusion materials. In January 2004, an attempt was made to disperse the birds using recorded predator and distress calls broadcast from speakers installed in the structure. This technique failed to disperse the birds. In February 2004, we developed a technique using compressed air to physically and audibly harass the birds. We used a trailer-mounted commercial air compressor producing 185 cubic feet per minute of air at 100 pounds per square inch pressure and a 20-foot long, 1-inch diameter PVC pipe attached to the outlet hose. One person slowly (< 5 mph) drove a pick-up truck through the airport terminal at dusk while the second person sat on a bench in the truck bed and directed the compressed air from the pipe into the canopy to harass starlings attempting to enter the roost site. After 5 consecutive nights of compressed-air harassment, virtually no starlings attempted to roost in the canopy. Once familiar with the physical effects of the compressed air, the birds dispersed at the sound of the air. Only occasional harassment at dusk was needed through the remainder of the winter to keep the canopy free of starlings. Similar harassment with the compressor was conducted successfully in autumn 2004 with the addition of a modified leaf blower, wooden clappers, and laser. In conclusion, we found compressed air to be a safe, unobtrusive, and effective method for dispersing starlings from an urban roost site. This technique would likely be applicable for other urban-roosting species such as crows, house sparrows, and blackbirds.

Bach-Busoni Chaconne: A Piano Transcription Analysis

In 1893 Ferruccio Busoni transcribed, for the piano, the famous Bach Chaconne for violin solo from the Partita No.2 in D minor. Numerous transcriptions of this piece for different various instruments exist; however Busoni's transcription stands above all others. The purpose of this study was to analyze what the famous, twentieth-century pianist did when he transcribed Bach's Chaconne. What information exists on the topic comes primarily from pianists who dared to learn this exceptionally difficult, beautiful composition. Busoni's accomplishments lie in the new concept, a conceptual transcription, which has two roots: understanding how, historically, we are connected to the music, and how once genres have a special meaning in the twentieth-century. Every generation of musicians brings their own specific point of view and interpretation. Busoni lived on the border of the two centuries and, in his transcription, reveled in several issues overlooked by the previous generation. With his keen understanding of the piece, Busoni highlighted many different genres present in the music, thus allowing recognition of the last movement of the Partita No. 2 in D minor as a Requiem for Bach's wife. By underscoring the genres, Busoni used them as strata. The idea of strata comes from the aesthetics of “play,” and from a different approach to the quality of sound on piano originally intended for a high string instrument. Busoni's arrangement of the texture added both orchestral quality and stereophonic perception. The strata add to a certain reading of Bach's original. Busoni promoted a dramatic approach opening the possibility of reading the chaconne as a multi-layered form. Through Busoni', we see the possibility not only of a tripartite, variation form, but also a composition, with the elements of a concerto, and a sonata. Who could imagine, that a composition written by a young composer at the fin de siecle, intended for practical use by pianists, would subtly influence so many contemporaries and generations, that they will find his findings and music inspiring. Adviser: Dr. Mark K. Clinton

Seasonal Variation in Reception of Fin Whale Calls at Five Geographic Areas in the North Pacific

In late August 1991 scientists at the National Oceanic and Atmospheric Administration’s (NOAA) National Marine Mammal Laboratory (NMML) and Pacific Marine Environmental Laboratory (PMEL) began a pilot study to investigate the capability of hydrophones from the US. Navy’s fixed array system to detect large whales in the North Pacific by passive reception of their calls. PMEL had previously established a direct data link from five bottom-mounted arrays of the Navy SOSUS (Sound Surveillance System), via the Naval Oceanographic Processing Facility (NOPF) at Whidbey Island, Washington, to study low-level seafloor seismicity (Fox et al. 1994). PMEL subsequently provided NMML tapes of SOSUS hydrophone data from which whale calls were analyzed. As in an analogous study conducted in the North Atlantic (Nishimura and Conlon 1994, Clark 1995, Mellinger and Clark 1995), calls attributable to whales were received at each SOSUS site at rates that varied seasonally (Anonymous 1996).

The Critical Reception of Beethoven’s Compositions by His German Contemporaries, volume 2

The volumes in The Critical Reception of Beethoven's Compositions by His German Contemporaries bring to light contemporary perceptions of Beethoven's music, including matters such as audience, setting, facilities, orchestra, instruments, and performers as well as the relationship of Beethoven's music to theoretical and critical ideas of the eighteenth and nineteenth centuries. These documents, most of which appear in English for the first time, have been compiled from German-language periodicals published between 1783 and 1830. They present a wide spectrum of insights into the perceptions that Beethoven's contemporaries had of his monumental music. This is the second in a projected four-volume series. It begins with Opus 55, the Eroica, and ends with Opus 72, Fidelio.