An Overview of Historical Beaver Management in Arizona

In the mid-1820s, Anglo-American fur trappers, known as "mountain men," entered Arizona and began trapping beaver (Castor canadensis). In Arizona there have been a number of famous mountain men such as Sylvester and James Pattie, Ewing Young, Jededia Smith, and Bill Williams who trapped along the waterways in northern and southern Arizona. Although the heyday of mountain men lasted only a few decades due to a population decline of beaver, management of these animals continues to this day. The purpose of managing beavers shifted from monetary gain to controlling wildlife damage. During the late 1900s, beaver were still widely distributed in limited numbers throughout much of the state. We provide a historical overview of beaver management in Arizona with emphasis on the mountain men, recreational trapping, wildlife damage management, and beaver research in Arizona.

CHARACTERISTICS OF THE PRIVATE NUISANCE WILDLIFE CONTROL INDUSTRY IN NEW YORK

The nuisance wildlife control industry is rapidly expanding in New York State. To gain additional insight about this industry and the number of animals handled, we reviewed the 1989-90 annual logs submitted by Nuisance Wildlife Control Orators (NWC0s) to the New York State Department of Environmental Conservation (DEC). The specific objectives of this study were to determine: (1) the number and species of different wildlife responsible for damage incidents, (2) the cause of damage complaints, (3) the disposition of animals handled, (4) the location of damage events (i.e., urban, suburban, rural), and (5) an estimate of the economic impact of the nuisance wildlife industry in Upstate New York. The Nuisance Wildlife Logs (NWLs) were examined for 7 urban and 7 rural counties (25.5% of Upstate counties), and these data were used to estimate total NWCO activity in DEC Regions 3 through 9 (excludes Long Island). Approximately 75% of NWCOs licensed by DEC were active during 1989-90, and nearly 2,800 complaints were handled in the 14 counties sampled. More than 90% of complaints came from urban counties, and we estimated that NWC0s responded to more than 11,000 calls in Upstate New York. At a conservative estimate of $35/call, revenue generated by this industry exceeded $385,000 annually. Six wildlife species accounted for 85% of the nuisance complaints in urban and rural counties. During 1986 to 1993, the number of NWCOs licensed by DEC nearly quadrupled, and there is no indication that this trend will change in the near future.

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