伯胺N_(1923)与中性磷萃取剂对Zn(Ⅱ)的协同萃取

本文研究了仲碳伯胺N_(1923)与中性磷萃取剂的正庚烷溶液,从盐酸介质中对Zn(Ⅱ)的协同萃取。用斜率法及等摩尔系列法确定协萃配合物的组成为:(RNH_3Cl)_3·ZnCl_2·TBP、(RNH_3Cl)_2·ZnCl_2·DBBP,求得协萃反应的平衡常数分别为logK_(12)(TBP)=3.09,logK_(12)(DBBP)=2.90,协萃配合物的生成常数分别为logβ_(12)(TBP)=1.34,logβ_(12)(DBBP)=1.90.计算了协萃反应的热力学函数值,并对协萃配合物的IR、NMR谱进行了讨论。

HPMBP与伯胺N_(1923)对希土元素(Ⅲ)的协同萃取

本文研究了HPMBP与伯胺N_(1923)的二甲苯溶液,从盐酸介质中协同萃取希土(Ⅲ)的机理。用斜率法、恒摩尔法确定了协萃配合物的组成为:RNH_3Ln(PMBP)_4。求得关于Pr(Ⅲ)协萃反应的平衡常数及协萃配合物的生成常数分别为:logK_(12)=-1.95;logβ_(12)=3.94。实验发现,协萃系数(R)随希土元素的原子序数(Z)递变而呈现“双峰效应”。还研究了协萃配合物的IR,NMR谱。

伯胺N_(1923)与中性磷试剂对Cd(Ⅱ)的协同萃取

本文研究了伯胺N_(1923)与中性磷试剂(TBP,DBBP)的正庚烷溶液,从盐酸介质中对Cd(II)的协同萃取。用斜率法、等摩尔系列法确定协萃配合物的组成为(RN-H_3Cl)_2·CdCl_2·B,求得协萃反应的平衡常数分别为lgK_(12)(TBP)=2.13,lgK_(12)(DBBP)=2.37;有机相协萃配合物的生成常数分别为lgβ_(12)(TBP)=1.22,lgβ_(12)(DBBP)=1.41,计算了协萃反应的热力学函数,并对协萃配合物的IR,NMR谱进行了研究。

Family, Kinship and Revolution: The Russian Nobility, 1917-1923

Rendle, M. (2005). Family, Kinship and Revolution: The Russian Nobility, 1917-1923. Family and Community History. 8(1), pp.35-47. RAE2008

Singing Through Struggle: Music as a Mode of Cultural Exchange in African American Border City Churches After Emancipation, 1862-1890

This project investigates how religious music, invested with symbolic and cultural meaning, provided African Americans in border city churches with a way to negotiate conflict, assert individual values, and establish a collective identity in the post- emancipation era. In order to focus on the encounter between former slaves and free Blacks, the dissertation examines black churches that received large numbers of southern migrants during and after the Civil War. Primarily a work of history, the study also employs insights and conceptual frameworks from other disciplines including anthropology and ritual studies, African American studies, aesthetic theory, and musicology. It is a work of historical reconstruction in the tradition of scholarship that some have called "lived religion." Chapter 1 introduces the dissertation topic and explains how it contributes to scholarship. Chapter 2 examines social and religious conditions African Americans faced in Baltimore, MD, Philadelphia, PA, and Washington, DC to show why the Black Church played a key role in African Americans' adjustment to post-emancipation life. Chapter 3 compares religious slave music and free black church music to identify differences and continuities between them, as well as their functions in religious settings. Chapters 4, 5, and 6 present case studies on Bethel African Methodist Episcopal Church (Baltimore), Zoar Methodist Episcopal Church (Philadelphia), and St. Luke’s Protestant Episcopal Church (Washington, DC), respectively. Informed by fresh archival materials, the dissertation shows how each congregation used its musical life to uphold values like education and community, to come to terms with a shared experience, and to confront or avert authority when cultural priorities were threatened. By arguing over musical choices or performance practices, or agreeing on mutually appealing musical forms like the gospel songs of the Sunday school movement, African Americans forged lively faith communities and distinctive cultures in otherwise adverse environments. The study concludes that religious music was a crucial form of African American discourse and expression in the post-emancipation era. In the Black Church, it nurtured an atmosphere of exchange, gave structure and voice to conflict, helped create a public sphere, and upheld the values of black people.

A GOLDEN AGE: FRENCH AND SPANISH CELLO MUSIC FROM SAINT-SAENS TO CASSADO

Motivated by both the delicacy of French music, such as La Mer by Claude Debussy, and the exotic atmosphere of Spanish music, such as Zigeunerweisen by Pablo Sarasate, I decided to investigate the characteristics of French and Spanish cello music from Camille Saint-Saens to Gaspar Cassad6. French cello music flourished from the end ofthel9th to the middle of the 20th century because of the innovation of many unprecedented techniques and experimentation with a variety of sonorities. The Spanish were heavily influenced by the French due to the geographical connection. Cello virtuosi like Auguste Tolbecque, August Franchomme, Pierre Fournier, and Paul Tortelier inspired composers of their day, creating a "golden age" of cello music. This dissertation consisted of three recitals in Gildenhom Recital Hall. The first recital was held on May lOth, 2007 at 5:30pm with pianist David Ballena. The second recital was held on October 14th, 2007 at 2pm with collaborators Minna Han, piano and Jenny Wu, violin. The third recital was held on March 301 2008 at 5:30 with pianist Naoko Takao. Here is the program of the recitals: The first recital: Gabriel Faure(1856-1924): Sonate pour Violoncello et Piano Op.109(1917) Gaspar Cassad6 (1897-1966): Suite per Violoncello Solo (1926) Claude Debussy (1862-1918): Sonate pour Violoncelle et Piano (1915) The second recital: Manuel de Falla (1876-1946): Melodia (1897), Romanza (1898) Camille Saint-Saens (1835-1921): Concerto for Cello and Orchestra No.1 in A minor Op.33 (1873) Maurice Ravel (1875-1973): Sonata for Violin and Cello (1920-22) The third recital: Pablo Casals (1876-1973): Song of the Birds (1925) Edouard Lalo (1823-1892): Concerto for Cello and Orchestra in D Minor (1877) Franscis Poulenc (1899-1963): Sonata for Cello and Piano Op.l43(1940-48)

A SURVEY OF FRENCH KEYBOARD MUSIC FROM 1880 TO 1950

French music flourished from the last quarter of the nineteenth century into the early twentieth century, especially in the genres of opera and orchestral music. Although French keyboard music enjoyed less popularity, being overshadowed by these predominant genres, prominent impressionist figures Claude Debussy (1862-1918) and Maurice Ravel (1875-1937) . . brought its revival to the French music. Scholars consider Debussy to be a frontrunner of Impressionism, and his influence had a major impact on subsequent composers. As a result of his popularity, other significant works by French composers seem to be overlooked by pianists and audiences and are not as often performed. Because keyboard works by Debussy and Ravel are a popular performance choice among pianists, I was eager to examine music by other French composers. Through my resea,rch, I found many great works that warranted further study and deserve a place in the keyboard repertoire. This recording project contains works by lesser-known French composers written between the years of 1880 and 1950, namely Emmanuel Chabrier (1841-1894), Gabriel-Urbain Faure (1845-1924), Charles Koechlin (1867-1950), Albert Roussel (1869-1937), Erik Satie (1866-1925), Francis Poulenc (1899-1963), Darius Milhaud (1892-1974), Robert Casadesus (1899-1972) and Henri Dutilleux (b.1916). Since piano repertoire is abundant, it is sometimes difficult to create a performance program. Therefore, it frequently becomes the default to choosing familiar repertoire rather than using the opportunity to expand the repertoire. As a pianist, I feel responsible to search for hidden musical treasures with which pianists and audiences alike are not so well acquainted. This recording project explores nine lesser-known French compositions written between 1880 and 1950. I expect this to be an opportunity to introduce both pianists and audiences to outstanding but unfamiliar works by French composers. This dissertation was recorded on two compact discs in Dekelboum Concert Hall at Clarice Smith Performing Arts Center of the University of Maryland. The recordings are archived in the University of Maryland Library.

Maurice Sartre. Inscriptions grecques et latines de la Syrie. Tome XXI. Inscriptions de la Jordanie. Tome IV. Pétra et la Nabatène méridionale du wadi al-Hasa au golfe de 'Aqaba

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