El tempe argentino

Marcos Sastre (1809-1887) fue un eminente educador y un destacado promotor de la cultura nacional además de un naturalista autodidacta. El Tempe Argentino, una de sus principales escritos, describe la flora, la fauna y la geografía del Delta del Paraná ilustrada con grabados de su autoría. Esta obra cuyo nombre evoca el Valle de Tempi, en la Tesalia griega fue publicada por primera vez en 1858 manteniendo su vigencia hasta mediados del siglo XX . En este número de la Serie Documentos presentamos la versión digitalizada de fragmentos - prólogo, introducción capítulo XVI, notas al apéndice y finales,semblanza de Marcos Sastre, bibliografía, reconocimientos, índice alfabético de la fauna y flora e índice completo-, de la obra publicada en 1938 por el Consejo Nacional de Educación . Esta edición gratuita fue corregida por el Dr. Emiliano Mac Donagh quién supervisó este libro incorporando notas e imágenes. En esta versión digital contamos con la invalorable y generosa ayuda del artista plástico Exequiel Martínez (http://www.exequielmartinez.com.ar/autor_a.htm) quién mejoró las figuras correspondientes a los peces, ya que, debido a la antigüedad de la edición y el proceso de digitalización, perdían definición. Esperamos, desde nuestro lugar, sumarnos a la divulgación que se viene realizando sobre este prohombre y contribuir con este modesto aporte, a recordar y difundir la obra de una de las figuras destacadas de la historia de la educación de la Argentina.

O novo por escrito: cinema, crítica, nacionalismo (196064)

Este trabalho teve dois objetivos fundamentais: definir a arquitetura conceitual do que chamamos discurso do Cinema Novo; e analisar as formas como o movimento foi recebido pela crítica, com o objetivo de compreender o que o Cinema Novo deve, em termos discursivos e de prestígio, a esse diálogo. Partindo do conceito de campo cultural tal como pensado pelo sociólogo Pierre Bourdieu, ou seja, como espaço de lutas simbólicas pelo controle de lugares de poder e dos índices de valor que definem uma determinada atividade cultural, conclui-se que o prestígio alcançado pelo Cinema Novo já em seus primeiros anos se deve fundamentalmente à capacidade do grupo em responder a demanda dos setores simbolicamente dominantes da crítica por um cinema que fosse ao mesmo tempo autêntico, com toda ambiguidade que guarda o termo, e moderno, segundo as convenções estabelecidas pelas cinematografias europeias, como o neorrealismo e a Nouvelle Vague. Assim, tal como compreendemos, o Cinema Novo foi uma estratégia de comunicação e de inserção no campo cinematográfico brasileiro. Nesse trabalho, não nos propusemos analisar os filmes, cuja descrição foi feita apenas quando acreditamos fundamental para a compreensão do discurso crítico. Nossas fontes foram fundamentalmente artigos da crítica cinematográfica publicados na imprensa cultural da época. Para análise desses artigos, nos valemos das reflexões teóricas de Mikhail Bakhtin sobre a linguagem e das ferramentas teóricas da análise do discurso tal como apresentada por Michel Pêcheux e alguns comentadores de sua obra, como Eni Orlandi e José Luiz Fiorin

Estudio morfológico y taxonómico de los ampulláridos de la República Argentina: Maria Isabel Hylton Scott. [tomado de la Revista del Museo Argentino de Ciencias Naturales “Bernardino Rivadavia”, Ciencias Zoologicas, Tomo III, nº 5, 1957.]

Corría 1968. Yo era un estudiante enamorado de las ampularias, y alguien me regaló una separata del trabajo de María Isabel Hylton Scott titulado “Estudio morfológico y taxonómico de los ampulláridos de la República Argentina”. Hoy soy un profesor e investigador jubilado, … enamorado de las ampularias ¿Qué pasó en el medio? Por diversas circunstancias de mi vida comencé mi carrera estudiando roedores. Pero como canta un tango, “siempre se vuelve al primer amor” y dos décadas después (hacia 1990) conseguí algo de financiación para estudiar uno de estos extraordinarios animales: Pomacea canaliculata. Esto fue para mí un nuevo comienzo: poco a poco fui dejando mis estudios en ratones silvestres, y formando un grupo dedicado a esta ampularia ¡Fue un cambio de phylum! Pecado difícilmente perdonable en un ambiente científico cada vez más competitivo, pero que me llenó de satisfacción, por lo que me felicito de haberlo cometido. Desde entonces he dirigido a siete doctorandos en distintos aspectos de la morfología y la ecofisiología de este animal (Albrecht, 1998; Vega, 2005; Gamarra-Luques, 2007; Koch, 2008; Giraud-Billoud, 2009; Cueto, 2011; Giraud-Billoud, 2011), y sus tesis tienen al menos dos cosas en común: P. canaliculata casi siempre en el título, y el trabajo de Hylton Scott (1957) siempre citado en la bibliografía. Ella, “la doctora”, la “decana de los zoólogos argentinos” (como escribió Cazzaniga, 1991) fue para nosotros, atrevidos que no la conocimos personalmente, a quien llamábamos por sobrenombre “Doña Marisa”, y lo seguimos haciendo. Lo sigo haciendo yo, porque aunque jubilado “en los papeles”, sigo trabajando detrás de sus pasos. Hoy tengo un doctorando (C. Rodríguez) trabajando en P. canaliculata , el octavo de mis tesistas en esta especie, y deseo que no sea el último. Una revisión de la biología de ampuláridos actualmente en prensa en Malacologia (Hayes et al., 2015) cita repetidas veces el trabajo que hoy reedita ProBiota. Los autores provienen de un amplio “mundo”, porque “el mundo” de los ampuláridos se ha extendido antropocóricamente a lo que hoy es Estados Unidos, Europa, China y Japón. Esto no lo podría haber soñado Doña Marisa cuando comenzó sus pacientes estudios de la embriología de P. canaliculata hace ochenta años (Hylton Scott, 1934). Y si algún cientómetra quisiera calcular la vida media de sus citas, se encontraría con algo sorprendente: que la curva temporal de éstas no va decayendo ¡sino creciendo! Hoy no puedo imaginarme a mí mismo, como investigador, si no me hubiera topado con esa separata de cien páginas, escritas en un castellano elegante y hoy amarillentas, a las que guardo como un tesoro (porque las que usamos son sus fotocopias). Por eso, al acercarse los 25 años de la muerte de esta gran cordobesa (y platense por adopción) le propuse a mi amigo Hugo L. López esta reedición, que el aceptó con entusiasmo. Y también le propuse a mi alumno G. I. Prieto, excelente dibujante, que le diera nueva vida a una vieja foto de Doña Marisa que fue publicada por Cazzaniga (1992). Los que conocieron a “la doctora” personalmente, podrán decir si Prieto logró revivir su penetrante mirada. Creo que sí. Alfredo Castro-Vazquez

Oasis en el océano: los frentes costeros del Mar Argentino

En el Atlántico argentino es posible reconocer zonas dinde distintas aguas con característica propias se encuentran. Ello ocasiona que aguas ricas en nutrientes sean movidas hacia la superficie, dando base a una alta producción biológica. Se describen la generación de frentes de mareas, se caracterizan por ejemplo, los frentes marinos, el frente del talud continental, el de la península de Valdés (prov. Chubut, Argentina), y el frente estuarial del Río de la Plata. Este trabajo de divulgación científica analiza la importancia ecológica de los frentes y además las posibilidades que brindan nuevas tecnologías satelitales que contribuirán a mejorar la comprensión del funcionamiento de los sistemas.

Bayesian estimation of simultaneous musical notes based on frequency domain modelling

This paper proposes a Bayesian method for polyphonic music description. The method first divides an input audio signal into a series of sections called snapshots, and then estimates parameters such as fundamental frequencies and amplitudes of the notes contained in each snapshot. The parameter estimation process is based on a frequency domain modelling and Gibbs sampling. Experimental results obtained from audio signals of test note patterns are encouraging; the accuracy is better than 80% for the estimation of fundamental frequencies in terms of semitones and instrument names when the number of simultaneous notes is two.

Contribución al conocimiento biológico del calamar argentino Illex illecebrosus argentinus

The present work deals with the biological study of the squid Illex illecebrosus argentinus of the Buenos Aires area (Argentina) in the southwest Atlantic ocean. According to recent research (Voss, pers. comm.) the squid obtained in commercial fishing in the waters off Buenos Aires Province (Castellanos), which in proper of the S.W. Atlantic. The material studied comes from commercial fishing done in in two sectors: one ranging from 36~' to 37~' S, and the other from 39~' to 42~' S in latitude, while both extend from 55~' to 62~' W in longitude. The fishing area varies during the years, being located more towards the North in summer and more towards the South in winter, following the fishing of hake. The number of individuals studied was 186. Their total length ranged from 195 mm to 670 mm for both sexes. The sampling showed that the males had lesser length and weight than the females: that is, a secondary sexual dimorphism was observed. At the length of 240 mm the squid reaches its sexual maturity. Sexual activity is observed the year around, but not simultaneously for the whole population, that is to say, spawning does not take place en masse but, on the contrary, it occurs during a prolonged period. In summer, from December to March, the greatest spawning period is observed. This takes place in the same habitat for the whole squid population. The squid herein studied is a cold water species, the water temperature ranging from 5~' to 12~' C in the sites of the largest catches. The squid is caught at depths ranging from 7 to 250 meters with a trawl net. In Patagonian waters, somewhat smaller individual are caught with 'poteras' at depths ranging from 1 to 8 fathoms.

La reproducción de la merluza en el Mar Argentino (Merlucciidae, Meluccius merluccius hubbsi) : 1. Descripción histológica del ciclo del ovario de merluza

The present paper deals on the histological description of the hake ovary made on the basis of gonad observations of 394 females during the period April 1966 March 1967. The material was obtained from weekly sampling of commercial catches carried out at the Institute of Marine Biology (Prov. Buenos Aires, Argentina). The anatomical and histological description of the standard ovary and the adopted terminology are given. The maturation process is divided into five periods, from ovocyte formation to yolked ovocyte formation, with its histological description. Ovary changes are analyzed on detail. The following conclusions were outlined: 1. Analysis demonstrated that although some specimens were totally spawned others, at the end of the spawning period, retaining a great number of ovocytes in different maturity stages. Therefore, postspawners have been classified as follows: Postspawned II : This stages is characterized by the empty ovarian structure, with ovocytes in stage II, which will remain in the resting phase untill next spawning season. Postspawned III and IV: Their main characteristics are: tissue destruction, bloody residuals and remaining ovocytes in stage III and IV, respectively. 2. Some transformations were found in ovaries of postspawned III and IV. They are classified as follows, according to its origin and structure: Developed from follicular cell membrane – a) Glandular formations, b) Epiteloid formations - Originated from remaining ovocytes, c) Ovocyte disintegration, d) Ovocyte with follicular cell infiltration. 3. All those structures derived from postpawners III and IV have a temporary character and will be reabsorbed. Their presence delay the recuperation of the organ and its reproductive functions. Consequently, the possibility of those structures acting as control mechanisms is suggested. 4. Transformations pointed out in paragraph Nº 2 prevent the possibility of consecutive spawning originated from the remaining ovocytes (II and IV). 5. No structures originated from postspawners III and IV were found during summer season. 6. Reproductive cycle of hake has been described monthly. It was observed that maturing ovaries predominate in summer (November-December).

La reproducción de la merluza en el Mar Argentino (Merlucciidae, Meluccius merluccius hubbsi) : 2. La reproducción de la merluza y su relación con otros aspectos biológicos de la especie

The paper deals with the spawning cycle of the hake, Merluccius merluccius hubbsi in the fishing area of the Argentine fleet, SW Atlantic (35°- 46° L. S.: 53°- 63° L.W.; 30-160 fathoms depth). It was made on the basis of the weekly sampling of the commercial catch in the period January 1965 - March 1968. The results have been compared with those of the exploratory surveys made by the United Nations Fisheries Development Program (República Argentina - FAO). The histological study, which was made with 741 specimens, was most intensive in females than in males. The results have been compared with the sexual stage determinations of both sexes in the total samples during the period before mentioned. The conclusions are: 1. The analysis of the ovocytes frequency distributions showed a period of resting or slow recuperation (April - August) with a mode of 120 ~k and one of rapid transformation (October - December) from 120 μ tíll 830 ~k. After December it appears again the mode of 120 ~k which indicated the reserve stock. 2. The maturity factor shows in both sexes a period of low values , 0,52 to 2% (April - September) and, another with higher values (October - March). In the first period the values are concentrated, while in the second one a large dispersion is observed produced by the rapidity of the growth process of the gonads. It is more evident between November and December. 3. The liver weight variations, compared with the degree of ingestion and the values of the maturity factor, in time, demonstrated that: a) after two periods of abundant ingestion (March - April and October- November) there are two increases of the liver index; b) the increase of the Iiver index has a direct relation to the maturity factor; c) at the end of the summer season, when the values of the maturity factor decrease, those of the liver index are still high. This demonstrates that the hake does not arrive exhausted at the end of the spawning season and that a rapid recuperation for a new spawning by part of the stock is possible. 4. Females predominate in the samples during most of the year. In the period October - December, when sexual activation occurs, as it is demonstrated by the high values of the maturity factor, proportions are nearly 1 :1, and males at times are more numerous than females. 5. The analisys of the advaneed maturity stages, in relation to total length shows that in the hake, Iike in other fishes, the largest ones mature first. This applies for both sexes. 6. The study of the maturity factor values and the sexual stages of the samples allows the recognition of two spawning periods, the main one in summer (October - March) and another in winter (June - July). 7. Part of the summer spawners, with a rapid recuperation, should be able to spawn again in winter. This indicates that the hake population, acording to our samples, has two different possibilities of spawning. 8. After analysis of the frequency percentages composition of mature specimens it is concluded that during the summer season, when hake is fished in shallow waters and in a wide area (38°– 43° L.S.) the fleet is fishing on the spawning stocks. Some winter spawners specimens have been found at 37°- 38° L.S. and in waters of more than 100 fathoms depth. 9. A new maturity scale of seven stages is proposed, instead of the one of six stages now in use. The new added stage corresponds to the postspawners during its resting period.

Syntax-Based Analytic Reading of Musical Scores

As part of a larger research project in musical structure, a program has been written which "reads" scores encoded in an input language isomorphic to music notation. The program is believed to be the first of its kind. From a small number of parsing rules the program derives complex configurations, each of which is associated with a set of reference points in a numerical representation of a time-continuum. The logical structure of the program is such that all and only the defined classes of events are represented in the output. Because the basis of the program is syntactic (in the sense that parsing operations are performed on formal structures in the input string), many extensions and refinements can be made without excessive difficulty. The program can be applied to any music which can be represented in the input language. At present, however, it constitutes the first stage in the development of a set of analytic tools for the study of so-called atonal music, the revolutionary and little understood music which has exerted a decisive influence upon contemporary practice of the art. The program and the approach to automatic data-structuring may be of interest to linguists and scholars in other fields concerned with basic studies of complex structures produced by human beings.

A Parallel Processing Model of Musical Structures

Euterpe is a real-time computer system for the modeling of musical structures. It provides a formalism wherein familiar concepts of musical analysis may be readily expressed. This is verified by its application to the analysis of a wide variety of conventional forms of music: Gregorian chant, Mediaeval polyphony, Back counterpoint, and sonata form. It may be of further assistance in the real-time experiments in various techniques of thematic development. Finally, the system is endowed with sound-synthesis apparatus with which the user may prepare tapes for musical performances.

The musical enculturation of Irish traditional musicians: An ethnographic study of learning processes

The enculturation of Irish traditional musicians involves informal, non-formal, and sometimes formal learning processes in a number of different settings, including traditional music sessions, workshops, festivals, and classes. Irish traditional musicians also learn directly from family, peers, and mentors and by using various forms of technology. Each experience contributes to the enculturation process in meaningful and complementary ways. The ethnographic research discussed in this dissertation suggests that within Irish traditional music culture, enculturation occurs most effectively when learners experience a multitude of learning practices. A variety of experiences insures that novices receive multiple opportunities for engagement and learning. If a learner finds one learning practice ineffective, there are other avenues of enculturation. This thesis explores the musical enculturation of Irish traditional musicians. It focuses on the process of becoming a musician by drawing on methodologies and theories from ethnomusicology, education, and Irish traditional music studies. Data was gathered through multiple ethnographic methodologies. Fieldwork based on participant-observation was carried out in a variety of learning contexts, including traditional music sessions, festivals, workshops, and weekly classes. Additionally, interviews with twenty accomplished Irish traditional musicians provide diverse narratives and firsthand insight into musical development and enculturation. These and other methodologies are discussed in Chapter 1. The three main chapters of the thesis explore various common learning experiences. Chapter 2 explores how Irish traditional musicians learn during social and musical interactions between peers, mentors, and family members, and focuses on live music-making which occurs in private homes, sessions, and concerts. These informal and non-formal learning experiences primarily take place outside of organizations and institutions. The interview data suggests these learning experiences are perhaps the most pervasive and influential in terms of musical enculturation. Chapter 3 discusses learning experience in more organized settings, such as traditional music classes, workshops, summer schools, and festivals. The role of organizations such as Comhaltas Ceoltóirí Éireann and pipers’ clubs are discussed from the point of view of the learner. Many of the learning experiences explored in this chapter are informal, non-formal, and sometimes formal in nature, depending on the philosophy of the organization, institution, and individual teacher. The interview data and field observations indicate that learning in these contexts is common and plays a significant role in enculturation, particularly for traditional musicians who were born during and after the 1970s. Chapter 4 explores the ways Irish traditional musicians use technology, including written sources, phonography, videography, websites, and emerging technologies, during the enculturation process. Each type of technology presents different educational implications, and traditional musicians use these technologies in diverse ways and some more than others. For this, and other reasons, technology plays a complex role during the process of musical enculturation. Drawing on themes which emerge during Chapter 2, 3, and 4, the final chapter of this dissertation explores overarching patterns of enculturation within Irish traditional music culture. This ethnographic work suggests that longevity of participation and engagement in multiple learning and performance opportunities foster the enculturation of Irish traditional musicians. Through numerous and prolonged participation in music-making, novices become accustomed to and learn musical, social, and cultural behaviours. The final chapter also explores interconnections between learning experiences and also proposes directions for future research.

ELGAR AND MART&: THE CELLO WORKS AND MUSICAL CHARACTERISTICS OF TWO REMARKABLE, SELF-TAUGHT, NATIONALISTIC COMPOSERS

The British Edward Elgar and Czech Bohuslav MartinB were two of the most prominent Nationalistic composers of their respective countries during the late nineteenth and early twentieth centuries. Their musical patriotism incorporates the unique paths of their lives as socially isolated and self-taught composers as expressed their outstanding Nationalistic compositions produced through the period of history encompassing the two World Wars.In the first chapter of this dissertation, a brief biography of Elgar is presented and the essential aspects of his formative years influencing him to become a self-taught musician are discussed. The second chapter demonstrates Elgar's musical characteristics through the study of a selection of his masterpieces. In the third chapter, a brief biography of Martinti is presented along with a history of his musical development, characterized by his social isolation during four different periods of his life-his residences in PoliCka, Prague, Paris, and then in the United States. The fourth chapter considers MartinB's musical characteristics as revealed through the study of a selection of his greatest works. In support of this doctoral project, I performed two recitals of cello works by Elgar and Martini3 at the University of Maryland, College Park. The first recital, accompanied by Susan Slingland and Hiroko Yamazaki, included three of Martini3's works, Sonata No. 2 for Cello and Piano (1941); Variations on a Theme of Rossini for Cello and Piano (1 942); and Sonata No. 3 for Cello and Piano (1952). The second recital, accompanied by Wonyoung Chang and Naoko Takao, presented Martini3's Sonata No. 1 for Cello and Piano (1939) and Elgar's Concerto for Cello and Orchestra Op. 85 in E minor (1 919).

Sikh Sabad Kirtan as a Musical Construction of Memory

The performance of devotional music in India has been an active, sonic conduit where spiritual identities are shaped and forged, and both history and mythology lived out and remembered daily. For the followers of Sikhism, congregational hymn singing has been the vehicle through which text, melody and ritual act as repositories of memory, elevating memory to a place where historical and social events can be reenacted and memorialized on levels of spiritual significance. This dissertation investigates the musical process of Shabad Kirtan, Sikh hymn singing, in a Sikh musical service as a powerful vehicle to forge a sense of identification between individual and the group. As an intimate part of Sikh life from birth to death, the repertoire of Shabad Kirtan draws from a rich mosaic of classical and folk genres as well as performance styles, acting as a musical and cognitive archive. Through a detailed analysis of the Asa Di Var service, Shabad Kirtan is explored as a phenomenological experience where time, place and occasion interact as a meaningful unit through which the congregation creates and recreates themselves, invoking deep memories and emotional experiences. Supported by explanatory tables, diagrams and musical transcriptions, the sonic movements of the service show how the Divine Word as Shabad is not only embodied through the Guru Granth Sahib, but also encountered through the human enactment of the service, aurally, viscerally and phenomenologically.

Exploring Musical Diversity in the Collaborative Repertoire from 1880 through 1963

It is essential in musical performance not only to convey the unique language of the composers but also to approach each composition from the perspective of its style. During the 20th century, diverse musical idioms co-existed, sometimes mixing or fusing, yet retaining recognizable characteristics and thereby remaining distinctive. This dissertation explores myriad examples from Late Romanticism/Post- Romanticism, Naturalism, Neo-Classicism, Nationalism and Impressionism composed during this unusually rich period. In order to explore a broad range of collaborative repertoire and to deepen my knowledge of the styles and performance practices relating to these pieces, I studied and performed the repertoire with pianist Eunae Baik–Kim, clarinetist Jihoon Chang, and singers Joshua Brown and Young Joo Lee. The first program featured Post-Romantic, Neo-Classic and Impressionist two-piano works composed by Debussy, Rachmaninoff, and Stravinsky. Each of the three composers used their own distinctive harmonies, rhythms, melodic inventions, pedaling and figurations. In all of the works, both piano parts were densely interwoven, having equal importance. Lied and operatic aria was the focus of the second recital. Brahms’ Vier Ernste Gesänge Op. 121, Ravel’s Don Quichotte a Dulcineé and Italian, French and German operatic arias were the examples of Post-Romanticism and Nationalism. The representative composers were Verdi, Massenet, Korngold, Leoncavallo, Ravel and Wagner. Despite the fact that all of the repertoire was written in traditional musical forms, the composers’ unique voices mark each work as belonging to a particular genre. The third recital focused on Post-Romantic and Impressionistic music written for clarinet and piano: the Première Rhapsodie by Debussy, the Sonata by Poulenc and Brahms’ Sonata in F minor Op. 120, No. 1. These works, although profoundly different in style, share elements of simplicity, clarity and elegance as well as technical virtuosity, articulation and profound musical depth. The three recitals which comprise this dissertation project were performed at the University of Maryland Gildenhorn Recital Hall on February 27, 2010, October 25, 2010, and January 31, 2011. The recitals were recorded on compact disc and are archived within the Digital Repository at the University of Maryland (DRUM).