Occurrence of Zoothamnium sp. infection in Penaeus monodon (Fabricius, 1798) of the coastal shrimp culture ponds of Cox's Bazar Bangladesh

Penaeus monodon (Fabricius, 1798) is a popular cultivable species and valuable foreign exchange earning item among all the fishery commodities in Bangladesh. At present with semi-intensive and intensive shrimp culture practices, disease is a problem. Protozoan infection, caused by the Zoothamnium sp. is one of the causes of damage in the total production by growth retardation and mortality. No work has yet been done on shrimp disease in Bangladesh. The present account therefore, constitutes the first report on it from the shrimp culture ponds of Cox's Bazar. The present work includes the occurrence and prevalence of protozoan disease, its seasonal variations and level of infestation in different length groups in Penaeus monodon.

Levantamento pedológico de uma área-piloto relacionada ao Projeto BiosBrasil (Conservation and Sustainable Management of Below-Ground Biodiversity: Phase I), município de Benjamin Constant (AM): janela 6.

2005

Solos das áreas-piloto do Projeto BiosBrasil (Conservation and Sustainable Management of Below-Ground Biodiversity: Phase I), Município de Benjamin Constant, Estado do Amazonas.

2005

Levantamento pedológico de uma área-piloto relacionada ao Projeto BiosBrasil (Conservation and Sustainable Management of Below-Ground Biodiversity: Phase I), Município de Benjamin Constant (AM): Janela 6

2005

Solos das áreas-piloto do Projeto BiosBrasil (Conservation and Sustainable Management of Below-Ground Biodiversity: Phase I), Município de Benjamin Constant, Estado do Amazonas

2005

Levantamento pedológico de uma área-piloto relacionada ao projeto BiosBrasil (Conservation and Sustainable Management of Below-Ground Biodiversity: Phase I), Município de Benjamin Constant (AM): janela 6.

2005

Solos das áreas-piloto do projeto BiosBrasil (Conservation and Sustainable Management of Below-Ground Biodiversity: Phase I), município de Benjamin Constant, Estado do Amazonas.

2005

Levantamento do Uso e Cobertura da Terra de Seis Áreas Amostrais Relacionadas ao Projeto BiosBrasil (Conservation and Sustainable Management of Below-Ground Biodiversity:Phase I), Município de Benjamin Constant (AM).

2005

An Address delivered in the Mercer Street Church at the funeral of the Hon. Benjamin Franklin Butler

Address

In Memoriam Benjamin Thomas Hoyt

Memoriam.

The universal mission of the church of Christ : a discourse / delivered at Hanley, Staffordshire, August 4, 1884, being the Fernley lecture of 1884, by Benjamin Hellier.

http://www.archive.org/details/universalmission00helluoft

Women of achievement : written for the Fireside Schools, under the auspices of the Woman's American Baptist Home Mission Society / by Benjamin Brawley.

http://www.archive.org/details/womenofachieveme00brawrich

REQUIRED VIOLA REPERTOIRE FOR THE PRIMROSE COMPETITION AND THE TERTIS COMPETITION

William Primrose (1903-1982) and Lionel Tertis (1876-1975) made the viola a grand instrument for public performances of solo and chamber music throughout their long and active lives characterized by a common passion for the viola. I, too, have been deeply inspired by their passion for the viola. I chose, therefore, for my doctoral performance project to feature works for viola from the required repertoire of the William Primrose and Lionel Tertis competitions of 2001 and 2003, respectively. For purposes of the performances, I divided selections from the combined repertoire for the William Primrose and Lionel Tertis competitions into three recitals. The first recital included Sonata, Opus 120, No.2 in E-flat Major (1894) by Johannes Brahms; Sonata, Opus 147 (1975) by Dmitri Shostakovich; and Sonata (1919) by Rebecca Clarke. These pieces represent standard components of the general repertoire for both the Primrose and Tertis competitions. The second recital was comprised of two works dedicated by their composers to Primrose: Lachrymae, Opus 48 (1950) by Benjamin Britten; and Concerto (1945) by Bela Bartok. The third recital included three pieces dedicated by their composers to Tertis: Sonata (1922) by Arnold Bax; Sonata in C Minor (1905) by York Bowen; and Sonata (1952) by Arthur Bliss. The goal of my preparation for these recitals was to emphasize a variety of techniques and, also, the unique timbre of the viola. For example, the works I selected emphasized high-position technique, which was not much used before the nineteenth century, and featured the lowest string (the C-string), which provides a beautifully somber and austere sonority characteristic of the viola. For these reasons, the selected works provided not only attractive and interesting pieces to study and perform but were also of educational merit.

NEGLECTED CELLO REPERTOIRE OF TWENTIETH CENTURY ENGLISH COMPOSERS

In the Twentieth Century, the proliferation of cellists and the exceptional development of cello techniques, combined with composers' acceptance of the challenges by these developments, led many British composers to contribute to the enrichment of the cello concert repertoire. A great number of compositions written for the cello in the Twentieth Century England have been long neglected. In comparison with their other works in the genres of concerto, symphony, and opera, works for cello by prominent Twentieth Century English composers Elgar, Walton, and Britten are relatively unknown, except for Elgar's cello concerto. There are also many lesser-known composers like Delius, Bax, Bridge, and Clarke, who flourished in the fmt half of the century, but eventually became disregarded. Some reasons for this neglect may be as follows: the reluctant attitude toward new trends in the English musical establishment around the turn of the century; a lack of readily available editions of these composers' compositions; an over-abundance of fine composers at one time; and lastly, an overly individualistic approach to the music restricting a general public appreciation and recognition. Encountering a recording of the Walton cello concerto prompted me to further study the neglected Twentieth Century English cello repertoire. Many works of the above-mentioned composers still have not been fully valued in the cello repertoire. For this reason, the purpose of this project was to inspire cellists to learn and broaden as well as to appreciate the beauty of the Twentieth Century cello literature. As part of the doctoral performance project, three recitals featuring the works by six English composers were performed. My collaborator in all three recitals was pianist Eunae KO. The fmt recital included the Sonata for cello and piano by Frank Bridge and the Concerto by William Walton. The second recital was comprised of relatively unknown cello works: Sonatina in D major by Arnold Bax, Romance by Frederick Delius, and the Sonata Op. 40 by Rebecca Clarke. The third recital consisted of Folk-Tale by Arnold Bax and the Symphony for Cello and Orchestra Op. 68 by Benjamin Britten.

EARLY TWENTIETH CENTURY VIOLA MUSIC FROM ENGLAND AND GERMANY: FROM POST-ROMANTICISM TO MODERNISM

In the early twentieth century, the viola began to gain status as a solo instrument with the appearance in England of the virtuosic violist Lionel Tertis. Because of a lack of music for viola at that time, such English composers as York Bowen, Arnold Bax, Ralph Vaughan Williams, Arthur Bliss and William Walton began to write viola music for Tertis. Meanwhile, in Germany, the well-known composer and virtuosic violinist and violist Paul Hindemith wrote and premiered several viola sonatas and concertos. Viola music became even more developed later with William Primrose, the legendary Scottish violist, and all the works written in the early twentieth century have remained significant in the viola literature. Although this new viola music appeared in both countries during same period, it developed along different lines in each country. Because they were under the influence of earlier periods and traditions, the English composers who associated with Tertis wrote their music in a Romantic style, with expanded harmony, various colors of sound and timbre, and lyrical melodies. Hindemith, as a composer himself, employed a more Modernist style, using atonality and angular melodies, which represented German trends at that time. I have given three recitals, of which the first two were divided between selected English music and German music. Although I originally intended to focus solely on music by Hindemith and music written for Terts, I decided that in order to give a more complete view of the national trends of those two countries, I included Rebecca Clarke's Sonata, Lachrymae by Benjamin Britten (dedicated to William Primrose), and Max Reger's Suite for Viola. Rebecca Clarke was herself a fine violist, and her sonata's Romantic style is also representative of the English trends of viola music. Lachrymae was written with a different concept and shows more modernity than had ever before occurred in England, though it still differs from the modernity of other countries. Max Reger's Suite is in a truly Romantic style, yet it is old fashioned in ways that differ not only from Wagner or Strauss, but also from English music of the period. In my last recital I wished to pay homage to Tertis, with a program consisting entirely of music written for him. For the finale, Arthur Bliss's Viola Sonata was especially chosen because it provides interesting similarities and contrasts with earlier English music in the Romantic style.