Organization of Sporulated Oocysts of Eimeria funduli in the Gulf Killifish, Fundulus grandis

Oocysts of Eimeria funduli were studied by transmission electron microscopy in naturally-infected livers of the Gulf killifish, Fundulus grandis. Tissues were cryo-processed because membranous structures in the oocyst appear to hinder routine fixation and embedment. The oocyst wall (about 25 nm thick) was adjacent to the host cell and consisted of an outer membrane that limited the host cell cytoplasm and an inner membrane separated from the outer membrane by a narrow space. In some specimens, dense material was applied to the inner face of the inner membrane. Individual sporocysts were surrounded by a membranous "veil" (about 25 nm thick) that consisted of two unit membranes. Sporopodia, projections of the sporocyst wall, supported the veil. The sporocyst wall (130-150 nm thick) consisted of two layers, a thin electron-lucent outer layer (about 10 nm thick) and a thick electron dense inner layer (about 130 nm thick). Depending on the plane of section, the inner layer had transverse striations with periods of 3 to 4 nm or 12 to 15 nm. A narrow fissure, broadest at the anterior pole of the sporocyst, extended about one-third the length of the sporocyst wall. The posterior pole of the sporocyst was characterized by a bulbous swelling. Although this swelling resembled a Stieda body in light microscopic preparations, ultrastructurally, the swelling was a knoblike thickening in the sporocyst wall and did not plug a gap in this wall

The Evolution of Sonata Form in the Wind Music of W.A. Mozart

Mozart’s wind music occupies a rather small space in the overall scope of his compositional output, numbering a total of ten works. Yet when viewed in the larger context of Mozart’s life, the wind music was written over the span of nine years, encompassing a large period from his youth up to his last decade in Vienna. Ranging from the simple divertimenti (K. 166 and 186) through the Tafelmusik (K. 213, 240, 252, 253 and 270) and finally culminating in the three Serenades (K. 361, 375 and 388), the wind music demonstrates Mozart’s maturation in wind writing, and also serves to illustrate the evolution in his use of sonata forms.