Recovery of a leucosid crab Nursia abbreviata Bell, 1855 from Arabian Sea fish

On two occasions Nursia abbreviata Bell, 1855 has been recovered from the stomachs of Batrochus grunniens (Linnaeus, 1758) caught with commercial fish. Nursia abbreviata has been previously recorded from Karachi by Alcock (1896). The present specimens afford the first subsequent record of the species from the region, and are represented by only two males recovered from fish stomachs. The only other species of the genus from Pakistan is N. Rubifera Muller, 1866 which is common in shore collections (Tirmizi and Kazmi, 1988). A brief description of the present material is given below.

Threatened fishes of the world: Tanichthys albonubes Lin 1932 (Cyprinidae)

The white cloud mountain minnow Tanichthys albonubes Lin is an endemic species to southern China and the genus has two species, Tanichthys albonubes Lin and Tanichthys micagemmae Freyhof et Herder. The distribution range of T. albonubes Lin and T. micagemmae is very narrow and only found in the mountain brooks of Baiyunshan Mountain (White Cloud Mountain), Huaxian Country and the vicinity of Guangzhou in Guangdong Province and Halong, Quang Ninh Province, Vietnam respectively. The wild populations of this fish had already been on the verge of extinction when Shu-Yan Lin first discovered it in 1932 at the Baiyunshan Mountain. It was believed to be extinct in the wild because there were no reports of this fish in the wild since 1980. In September 2003, a small and isolated population of the fish was discovered in a mountain puddle in the north vicinity of Guangzhou. Additional studies are needed to determine the survival and propagation of the released fish. The protection of their natural habitat should be implemented.

Tree-ringbased drought reconstruction (a.d. 1855-2001) for the Qilian mountains；northwestern China

IEECAS SKLLQG

Morphology and infraciliature of three species of Metaurostylopsis (Ciliophora, Stichotrichia): M. songi n. sp., M. salina n. sp., and M. marina (Kahl 1932) from sediments, saline ponds, and coastal waters.

Two new urostylid ciliates, Metaurostylopsis songi n. sp. and Metaurostylopsis salina n. sp. and Metaurostylopsis marina (Kahl 1932) are investigated using live observation and protargol impregnation. These species were isolated in Korea from intertidal sediments, saline ponds, and coastal waters. Metaurostylopsis songi is in vivo about 120 pm x 25 mu m, has a slenderly ellipsoidal body, colorless cortical granules in rows on ventral and dorsal body sides, about 54 macronuclear nodules, 28-47 adoral membranelles, five frontal, two or three frontoterminal and six or seven transverse cirri, and 9-12 midventral cirral pairs followed posteriorly by 1-3 single cirri. In vivo M. salina is about 60 pin x 25 mu m, has a pyriform body, colorless cortical granules irregularly arranged, about 45 macronuclear nodules, 18-23 adoral membranelles, three frontal, three to five frontoterminal and two to five transverse cirri, and four or five midventral cirral pairs followed posteriorly by five to seven single cirri. Both species have three marginal cirral rows on each body side and 3 long dorsal kineties. The Korean specimens of M. marina match the Chinese population in all main features. Metaurostylopsis songi differs from M. marina by the more slender body, the number of frontal cirri (invariably five vs. four), and the arrangement of cortical granules (in rows on dorsal and ventral cortex vs. only along dorsal kinetics and anterior body margin). Metaurostylopsis salina differs from its congeners by the distinctly smaller size, the pyriform body shape, the scattered cortical granules (vs. in rows), and number of frontal cirri. It differs from M. marina also by the number of midventral cirral pairs (four or five vs. seven to 11).

Le cycle de l'enfance du Christ dans l'église rupestre de Saint-Jean Baptiste à Deir Abou Hennis

Publication des peintures et inscriptions des murs nord et est du narthex de l'église rupestre du Deir Abou Hennis

Jean-Paul Sartre

info:eu-repo/semantics/published

Sur Jean-Paul Sartre: raisons dialectiques américaines

Paris

SOLOS DE CONCOURS FOR FLUTE AT THE PARTS CONSERVATORY: TWO DECADES-1900s AND 1940s

The topic of this dissertation is the concours pieces for flute at the Paris Conservatory covering two decades. The works are used for exit examination pieces for graduating students at the conservatory. The music is chosen by the director, the professors in the performance area, and a committee of other professors. These pieces still seem to be among the more important pieces known by flutists in the twenty-first century, and they are also frequently used as required audition pieces by conservatories, orchestras, and competitions. I have performed the works used for examination in two decades separated by almost half a century: The pieces from 1900 to 1909 and from 1940-1949, This performance dissertation contains three recital programs, and the recordings of the recitals are filed electronicaIly. I have grouped them according to contrasting styles in three recitals. Works performed are Agrestide (1942) by Eugene Bozza, Andante et Scherzo (1945) by Francois J. Brun, Preude et Scherzo (1908) by Henri Busser, Concertino (1902) by Cecile Chaminade, sixth Solo (1855) by Jules Demersseman (it was on the concours of 1896, dates which are outside the scope of this dissertation), Sonatine (1943) by Henri Dutilleux, Cantabile et Presto (1904) by Georges Enesco, Andante et Scheno (1901) by Louis Ganne, Fantaisie (1920) by Philippe Gaubert, Nocturne et Allegro Scherzando (1906) by Philippe Gaubert, Chant de Linos (1944) by Andre Jolivet, Fantasiestuck (1947) by Henri Martelli, Eglogue (1909) by Jules Mouquet, Concerto in A (1945-1949) by mile Passani, Ballade (1903) by Albert Perhilou, Sonatine (1946) by Pierre Sancan, Andante Pastorale et Scherzettim (1907) by Paul Taffanel, and Concertino in E Major (1945) by Henri Tornasi. Cantabile et Presto was required in both 1904 and 1940, and Andante et Scherzo was required in both 1901 and 1905.

FLUTE MUSIC FROM THE MID-TWENTIETH CENTURY BY THREE FRENCH COMPOSERS: JEAN-MICHEL DAMASE, ANDRE JOLIVET, AND HENRI TOMASI

Jean-Michel Damase (b.1928), Andre Jolivet (1905-1974), and Henri Tomasi (1901-1971) are three prominent French composers ofthe twentieth century. Tomasi won the Prix de Rome in 1927, and Damase won the Prix de Rome in 1947. All three composers were educated and lived in Paris around the same period; however, their musical styles are quite distinct. Most of Jolivet's compositions for flute are well known and are often selected as international competition repertoire. The compositions for flute by Damase and Tomasi are not as recognized as those of Jolivet, and most of their works for flute still have not been commercially recorded. The purpose of this dissertation is to provide a more comprehensive guide to the compositions for flute by Damase, Jolivet and Tomasi, and, in addition, to make the works ofDamase and Tomasi familiar to flutists. This dissertation will focus on the compositions ofDamase, Jolivet, and Tomasi for flute alone and those for flute and piano, written between 1928 and 1971 (1928 is the year Damase was born, and 1971 is the year that Tomasi died). Damase continues French romanticism, and his music is always playful, elegant, and accessible with rhythmic and harmonic surprises, but with an underlying complexity. His compositions for flute include three concertos, two double concertos, one flute solo work, and nine works for flute and piano. Jolivet's compositions make use of ancient rituals, incantations, and spirituality, as well as repeated phrases and single notes, irregular rhythmic patterns, dissonant effects, and rhythmic drive. He composed one flute concerto, three works for flute solo, and four works for flute and piano. Tomasi's compositions also continue French romanticism and contain melodies which often seem to tell a story, and which are not only full of flourishes and vitality, but are also delicate, colorful, and romantic. Virtuosic technical demand is another characteristic of his style. Tomasi composed three flute concertos, three works for solo flute, and one work for flute and piano. Appendix I is a list of the compositions for flute by Damase, Jolivet, and Tomasi, and Appendix II is a discography of their works.