O sagui-da-serra-escuro (Callithrix aurita) e os saguis invasores no Parque Nacional da Serra dos Órgãos, RJ, Brasil: distribuição espacial e estratégias de conservação

O sagui-da-serra-escuro (Callithrix aurita) (É.Geoffroy, 1812) é uma espécie endêmica da Mata Atlântica e ameaçada de extinção, considerada em perigo. Callithrix jacchus e C. penicillata são espécies invasoras no Estado do Rio de Janeiro, que competem com C. aurita pelos mesmos recursos, além de formarem híbridos. Nesse contexto, avaliamos a distribuição espacial das espécies de saguis (nativa e invasoras) no interior e entorno do Parque Nacional da Serra dos Órgãos (PARNASO), RJ, Brasil, através do método de playback, entrevistas, e a modelagem de ocupação e detecção. Além disso, comparamos os dados de distribuição atual com os registros de ocorrência anteriores a esse estudo. Os resultados mostraram que a população de saguis nativos e invasores presentes no interior no parque possuem probabilidade de ocupação (0,20 e 0,22), detecção (0,22 e 0,26) e abundância (12,65 e 13,68 grupos) semelhantes. A ocupação de C. aurita está relacionada às áreas do parque mais afastadas da estrada e com menor interferência humana, provavelmente pelo efeito da elevada altitude nessas regiões. Enquanto que a ocupação dos saguis invasores está relacionada à proximidade dos limites do parque e a maior interferência humana, tanto em maiores altitudes quanto em menores. Registramos o processo de hibridação entre saguis nativos e invasores, e a formação de grupos mistos entre eles, em diversos pontos da região de Petrópolis, inclusive no interior do parque, evidenciando as consequências do processo de invasão. Concluímos que a população de Callithrix aurita no PARNASO é pequena, restrita a uma única região do parque, e parte dela possui contato com grupos de saguis invasores, ou está bem próxima deles. As espécies de saguis invasores ocorrem em alguns locais no interior do parque e por todo o seu entorno. Portanto, há uma pressão dos saguis invasores em direção ao interior do PARNASO. Diante deste processo de extinção local de uma espécie endêmica, ameaçada de extinção, e com uma restrita distribuição geográfica, alertamos para a urgente necessidade de iniciar um eficiente programa de manejo das espécies de saguis invasores, juntamente com a reintrodução de grupos de Callithrix aurita.

Semblanzas Ictiológicas: Daniel Mario del Barco

A través de esta serie intentaremos conocer diferentes facetas personales de los integrantes de nuestra “comunidad”. El cuestionario, además de su principal objetivo, con sus respuestas quizás nos ayude a encontrar entre nosotros puntos en común que vayan más allá de nuestros temas de trabajo y sea un aporte a futuros estudios históricos. Esperamos que esta iniciativa pueda ser otro nexo entre los ictiólogos de la región, ya que consideramos que el resultado general trascendería nuestras fronteras.

Semblanzas Ictiológicas: Daniel Enrique Figueroa

A través de esta serie intentaremos conocer diferentes facetas personales de los integrantes de nuestra “comunidad”. El cuestionario, además de su principal objetivo, con sus respuestas quizás nos ayude a encontrar entre nosotros puntos en común que vayan más allá de nuestros temas de trabajo y sea un aporte a futuros estudios históricos. Esperamos que esta iniciativa pueda ser otro nexo entre los ictiólogos de la región, ya que consideramos que el resultado general trascendería nuestras fronteras.

Semblanzas Ictiológicas Iberoamericanas: Enrique Daniel Laaz Moncayo.

A través de esta nueva serie tratamos de conocer diferentes aspectos personales de los integrantes de la comunidad ictiológica iberoamericana. Esta iniciativa, comparte el espíritu y objetivo de las semblanzas nacionales buscando informalmente otro punto de unión en la “comunidad de ictiólogos iberoamericanos”. Quizás esté equivocado en mi apreciación, pero creo que vale la pena este intento, ya que, con la colaboración generosa e insoslayable de los integrantes de este “universo”, señalaremos un registro en el tiempo de la Ictiología Neotropical.

Daniel Owen a 'Gwir Gychwyn' y Mudiad Drama

Williams, I. (2005). Daniel Owen a 'Gwir Gychwyn' y Mudiad Drama. Ll?n Cymru. 28, pp.138-159.

Letter to Charlie Brown from Daniel Denison Whedon

This letter is part of the Autograph Letters Collection.

Letter to Daniel A. Whedon. New York. April 13, 1867

Handwritten 1867 letter from Daniel D. Whedon to his nephew, Daniel A. Whedon, requesting books.

Letter to Daniel Avery Whedon. Brooklyn, NY. Nov. 22, 1865.

Handwritten 1865 handwritten letter from Daniel D. Whedon to Daniel A. Whedon, his nephew, regarding slavery in relation to the Church as well as the Christian Union.

Daniel Giovannangeli, La Passion de l’origine, Paris :Galilée, 1995, 137 p.

Paris

BACH TO BASICS: A PERFORMANCE STUDY OF THE SUITES FOR SOLO CELLO BY JOHANN SEBASTIAN BACH, BWV 1007-1012

This dissertation project focuses on J.S. Bach's Six Suites and explores the ideology of the Suites as etudes versus concert pieces. It is my belief that the evolution of the rank of the Suites in a cellist's repertoire today represents more than just historical coincidence. My premise is that the true genius of the Suites lies in their dual role as !&I efficient teaching pieces and superior performance works. Consequently, the maximum use of Bach's Six Suites as pedagogical material heightens both technical ability and deeper appreciation of the art. The dual nature of the Suites must always be emphasized: not only do these pieces provide innumerable opportunities for building cello technique, but they also offer material for learning the fundamentals of melody, harmony, dynamics, phrasing and texture. It is widely accepted among academic musicians that Bach's keyboard music serves as perfect compositions -- the model for music theory, music form and music counterpoint. I argue that we should employ the Cello Suites to this same end. The order in which the Suites are presented was deliberately chosen to highlight the contrasts in the pieces. Because the technical demands of each suite grow progressively from the previous one, they were performed non-consecutively in order to balance the difficulty and depth of each recital. The first compact disc consists of the Third Suite in C Major and Fifth Suite in C minor (with scordatura tuning), emphasizing the parallel keys. The Second Suite in D Minor and the Fourth Suite in E-flat Major comprises the compact disc. Finally, in the third compact disc, the First Suite in G Major and the Sixth Suite in D Major (composed for the five string cello piccola, but played here on a four-string cello) highlights the progression of the Suites.

THE ART OF TRANSCRIBING FOR HARPSICHORD

A relatively unexplored area of the harpsichord repertoire is the group of transcriptions made by J.S. Bach (1685-1750), Jean Henry d'Anglebert (1629-1691), and Jean-Baptiste Forqueray (1699-1782). These transcriptions are valuable and worth exploring and performing. Studying them provides unique insights into their composer‘s musical thinking. By comparing transcriptions with their original sources, the transcriber's decisions and priorities can be observed. The performance component of this dissertation comprises three recitals. The first features works of Johann Sebastian Bach: two transcriptions of violin concerti by Antonio Vivaldi (1678-1741), and two transcriptions of trio sonatas by Johann Adam Reinken (1643-1722). The most salient feature of Bach‘s transcriptions is his addition of musical material: ornamenting slow movements, adding diminutions and idiomatic keyboard figurations throughout, and recomposing and expanding fugal movements. The second recital features works of Jean Henry d'Anglebert and Jean-Baptiste Forqueray, two French composer/performers. From d'Anglebert‘s many transcriptions, I assembled two key-related suites: the first comprised of lute pieces by Ennemond Gaultier (c. 1575-1651), and the second comprised of movements from operas by Jean-Baptiste Lully (1632-1687). Forqueray's transcriptions are of suites for viola da gamba and continuo, composed by his father, Antoine Forqueray (1671-1745). Creative and varied ornamentation, along with the style brisé of arpeggiated chords, are the most important features of d‘Anglebert‘s transcriptions. Forqueray‘s transcriptions are highly virtuosic and often feature the tenor and bass range of the harpsichord. The third recital features my own transcriptions: the first suite for solo cello by J.S. Bach, excerpts from the opera La Descente d’Orphée aux Enfers by Marc-Antoine Charpentier (1643-1704), and two violin pieces by Nicola Matteis (fl. c. 1670-c. 1698). In these transcriptions, I demonstrate what I have learned from studying and performing the works in the first two recitals. These recitals were performed in the Leah Smith Hall at the University of Maryland on May 4, 2010; May 11, 2010; and October 7, 2010. They were recorded on compact discs and are archived within the Digital Repository at the University of Maryland (DRUM).