Review of a Small-scale Pelagic Longline Fishery off Northeastern Brazil

The annual catches of four small longliners operating off northeast Brazil from 1983 to 1997 were examined across different areas and locations. The total catch comprised tunas (30%), sharks (54%), billfishes (12%), and other fish species (4%). Fishing strategy and annual composition of catches showed large spatial and temporal variabilities with the dominant catches alternating among yellowfin tuna, Thunnus albacares; gray sharks, Carcharhinus spp.; and blue shark, Prionace glauca. Catches of blue and gray sharks showed a significant interaction among seamounts, with gray sharks occurring in maximum abundance around those seamounts that had relatively deep summits and low-sloping depth profiles. Results are discussed in terms of the various factors that may have influenced distribution of effort.

Hardware reconfigurável para geração de música harmonizada utilizando autômatos celulares.

Desde os primórdios da humanidade, a descoberta do método de processamento cerebral do som, e consequentemente da música, fazem parte do imaginário humano. Portanto, as pesquisas relacionadas a este processo constituem um dos mais vastos campos de estudos das áreas de ciências. Dentre as inúmeras tentativas para compreensão do processamento biológico do som, o ser humano inventou o processo automático de composição musical, com o intuito de aferir a possibilidade da realização de composições musicais de qualidade sem a imposição sentimental, ou seja, apenas com a utilização das definições e estruturas de música existentes. Este procedimento automático de composição musical, também denominado música aleatória ou música do acaso, tem sido vastamente explorado ao longo dos séculos, já tendo sido utilizado por alguns dos grandes nomes do cenário musical, como por exemplo, Mozart. Os avanços nas áreas de engenharia e computação permitiram a evolução dos métodos utilizados para composição de música aleatória, tornando a aplicação de autômatos celulares uma alternativa viável para determinação da sequência de execução de notas musicais e outros itens utilizados durante a composição deste tipo de música. Esta dissertação propõe uma arquitetura para geração de música harmonizada a partir de intervalos melódicos determinados por autômatos celulares, implementada em hardware reconfigurável do tipo FPGA. A arquitetura proposta possui quatro tipos de autômatos celulares, desenvolvidos através dos modelos de vizinhança unidimensional de Wolfram, vizinhança bidimensional de Neumann, vizinhança bidimensional Moore e vizinhança tridimensional de Neumann, que podem ser combinados de 16 formas diferentes para geração de melodias. Os resultados do processamento realizado pela arquitetura proposta são melodias no formato .mid, compostas através da utilização de dois autômatos celulares, um para escolha das notas e outro para escolha dos instrumentos a serem emulados, de acordo com o protocolo MIDI. Para tal esta arquitetura é formada por três unidades principais, a unidade divisor de frequência, que é responsável pelo sincronismo das tarefas executadas pela arquitetura, a unidade de conjunto de autômatos celulares, que é responsável pelo controle e habilitação dos autômatos celulares, e a unidade máquina MIDI, que é responsável por organizar os resultados de cada iteração corrente dos autômatos celulares e convertê-los conforme a estrutura do protocolo MIDI, gerando-se assim o produto musical. A arquitetura proposta é parametrizável, de modo que a configuração dos dados que influenciam no produto musical gerado, como por exemplo, a definição dos conjuntos de regras para os autômatos celulares habilitados, fica a cargo do usuário, não havendo então limites para as combinações possíveis a serem realizadas na arquitetura. Para validação da funcionalidade e aplicabilidade da arquitetura proposta, alguns dos resultados obtidos foram apresentados e detalhados através do uso de técnicas de obtenção de informação musical.

A biogeographic assessment of the Samoan Archipelago

This report examines the marine biogeography of the Samoan Archipelago (~14º S latitude along the international date-line) with a focus on regional ocean climate, connectivity among islands due to larval transport, distributions of reef fish and coral communities, and the extent of existing marine protected areas. Management decisions and prior assessments in the archipelago have typically been split along the international political boundary between the islands of Samoa and those of American Samoa despite their close proximity and shared resources. A key goal in this assessment was to compile data from both jurisdictions and to conduct the characterization across the entire archipelago. The report builds upon earlier assessments by re-analyzing and interpreting many pre-existing datasets, adding more recent biogeographic data sources, and by combining earlier findings into a multidisciplinary summary of marine biogeography. The assessment is divided into 5 chapters and supporting appendices. Each chapter was written and reviewed in collaboration with subject matter specialists and local experts. In Chapter 1, a short introduction to the overall scope and approach of the report is provided. In Chapter 2, regional ocean climate is characterized using remote sensing datasets and discussed in the context of local observations. In Chapter 3, regional ocean currents and transport of coral and fish larvae are investigated among the islands of the archipelago and surrounding island nations. In Chapter 4, distinct reef fish and coral communities across the archipelago are quantified on the basis of overall biodiversity, abundance, and community structure. In Chapter 5, the existing network of MPAs in American Samoa is evaluated based on the habitats, reef fish, and coral communities that are encompassed. Appendices provide analytical details omitted from some chapters for brevity as well as supplemental datasets needed as inputs for the main chapters in the assessment. Appendices include an inventory of regional seamounts, a description of shore to shelf edge benthic maps produced for Tutuila, analytical details of reef fish and coral datasets, and supplemental information on the many marine protected areas in American Samoa.

Diets of thornback ray (Raja clavata) and tope shark (Galeorhinus galeus) in the bottom longline fishery of the Azores, northeastern Atlantic

Tope shark (Galeorhinus galeus) and thornback ray (Raja clavata) are the two most captured elasmobranch species by the Azorean bottom longline fishery. In order to better understand the trophic dynamics of these species in the Azores, the diets of thornback ray and tope shark caught in this area during 1996 and 1997 were analyzed to describe feeding patterns and to investigate the effect of sex, size, and depth and area of capture on diet. Thornback rays fed mainly upon fishes and reptants, but also upon polychaetes, mysids, natant crustaceans, isopods, and cephalopods. In the Azores, this species preyed more heavily upon fish compared with the predation patterns described in other areas. Differences in the diet may be due to differences in the environments (e.g. in the Azores, seamounts and oceanic islands are the major topographic features, whereas in all other studies, continental shelves have been the major topographic feature). No differences were observed in the major prey consumed between the sexes or between size classes (49−60, 61−70, 71−80, and 81−93 cm TL). Our study indicates that rays inhabiting different depths and areas (coastal or offshore banks) prey upon different resources. This appears to be related to the relative abundance of prey with habitat. Tope sharks were found to prey almost exclusively upon teleost fish: small shoaling fish, mainly boarfish (Capros aper) and snipefish (Macroramphosus scolopax), were the most frequent prey. This study illustrates that thornback rays and tope sharks are top predators in waters off the Azores.

The occurrence of yellowfin tuna (Thunnus albacares) at Espiritu Santo Seamount in the Gulf of Mexico) at Espiritu Santo Seamount in the Gulf of Mexico

Pelagic fishes are not evenly dispersed in the oceans, but aggregate at distinct locations in this vast and open environment. Nomadic species such as mackerels, tunas, and sharks form assemblages at seamounts (Klimley and Butler, 1988; Fontenau, 1991). Fishermen have recognized this behavior and have placed moorings with surface buoys in deep waters to provide artificial landmarks, around which fish concentrate and are more easily captured. These fish aggregating devices (termed FADs) are common in the tropical oceans (see review, Holland, 1996). In a sense, it may only be the larger size that separates a seamount from a man-made FAD.

Serpentinization of peridotites from the southern Mariana forearc

A detailed petrologic and mineralogic study was carried out on serpentinized peridotites dredged from the southern landward slopes of the Mariana Trench, in order to reveal the serpentinization process of these unusual rocks and to identify the sole presence of the mineral lizardite. The constituent minerals of these southern Mariana forearc peridotites are olivine, amphibole and spinel, as well as serpentine, chlorite and talc. Compared with serpentinite seamounts, the serpentinized peridotites from the southern Mariana forearc are characterized by the absence of magnetite and brucite, and the common presence of talc; besides, the serpentine mineral variety is simplex, only lizardite. Combining mineral chemistry and mineral phase relationships, we conclude that (1) the absence of magnetite in the serpentinized peridotites is due to incomplete serpentinization, other than magnetite, the iron end-member in olivine forms Fe-rich brucite and Fe-rich serpentine; (2) brucite is not stable with high silica activity, reacting with later SiO2-rich fluid and then forming lizardite, leading to a lack of brucite in these serpentinized peridotites; (3) the occurrence of talc is the result of later SiO2-rich fluid reactions with lizardite; and (4) the reason for the sole occurrence of lizardite is that the temperature condition of our study area was not high enough for the formation of antigorite (which is stable at > 500 degrees C). Despite the broad overlap of lizardite and chrysotile in growth temperature, differences in the modes of occurrence of lizardite and chrysotile, such as the scarcity of H2O, low porosity and permeability, as well as the actual situation of initial serpentinization in the study area, result in the absolute prevalence of lizardite over chrysotile in the area. (C) 2009 National Natural Science Foundation of China and Chinese Academy of Sciences. Published by Elsevier Limited and Science in China Press. All rights reserved.

He, Ne and Ar isotopic composition of Fe-Mn crusts from the western and central Pacific Ocean and implications for their genesis

The noble gas nuclide abundances and isotopic ratios of the upmost layer of Fe-Mn crusts from the western and central Pacific Ocean have been determined. The results indicate that the He and Ar nuclide abundances and isotopic ratios can be classified into two types: low He-3/He-4 type and high He-3/He-4 type. The low He-3/He-4 type is characterized by high He-4 abundances of 191x10(-9) cm(3.)STP(.)g(-1) on average, with variable He-4, Ne-20 and Ar-40 abundances in the range (42.8-421)x10(-9) cm(3.)STP(.)g(-1), (5.40-141)x10(-9)cm(3.)STP(.)g(-1), and (773-10976)x10(-9) cm(3.)STP(.)g(-1), respectively. The high He-3/He-4 samples are characterized by low He-4 abundances of 11.7x10(-9) cm(3.)STP(.)g(-1) on average, with He-4, Ne-20 and Ar-40 abundances in the range of (7.57-17.4)x10(-9) cm(3.)STP(.)g(-1), (110.4-25.5)x10(-9) cm(3.)STP(.)g(-1) and (5354-9050)x10(-9) cm(3.)STP(.)g(-1), respectively. The low He-3/He-4 samples have He-3/He-4 ratios (with RIRA ratios of 2.04-2.92) which are lower than those of MORB (R/R-A=8 +/- 1) and Ar-40/Ar-36 ratios (447-543) which are higher than those of air (295.5). The high He-3/He-4 samples have He-3/He-4 ratios (with R/R-A ratios of 10.4-12.0) slightly higher than those of MORB (R/R-A=8 +/- 1) and Ar-40/Ar-36 ratios (293-299) very similar to those of air (295.5). The Ne isotopic ratios (Ne-20/Ne-22 and Ne-21/Ne-22 ratios of 10.3-10.9 and 0.02774-0.03039, respectively) and the Ar-38/Ar-36 ratios (0.1886-0.1963) have narrow ranges which are very similar to those of air (the Ne-20/Ne-22, Ne-21/Ne-22, Ar-38/Ar-36 ratios of 9.80, 0.029 and 0.187, respectively), and cannot be differentiated into different groups. The noble gas nuclide abundances and isotopic ratios, together with their regional variability, suggest that the noble gases in the Fe-Mn crusts originate primarily from the lower mantle. The low He-3/He-4 type and high He-3/He-4 type samples have noble gas characteristics similar to those of HIMU (High U/Pb Mantle)- and EM (Enriched Mantle)-type mantle material, respectively. The low He-3/He-4 type samples with HIMU-type noble gas isotopic ratios occur in the Magellan Seamounts, Marcus-Wake Seamounts, Marshall Island Chain and the Mid-Pacific Seamounts whereas the high He-3/He-4 type samples with EM-type noble gas isotopic ratios occur in the Line Island Chain. This difference in noble gas characteristics of these crust types implies that the Magellan Seamounts, Marcus-Wake Seamounts, Marshall Island Chain, and the Mid-Pacific Seamounts originated from HIMU-type lower mantle material whereas the Line Island Chain originated from EM-type lower mantle material. This finding is consistent with variations in the Pb-isotope and trace element signatures in the seamount lavas. Differences in the mantle surce may therefore be responsible for variations in the noble gas abundances and isotopic ratios in the Fe-Mn crusts. Mantle degassing appears to be the principal factor controlling noble gas isotopic abundances in Fe-Mn crusts. Decay of radioactive isotopes has a negligible influence on the nuclide abundances and isotopic ratios of noble gases in these crusts on the timescale of their formation.

Mineral provinces and matter provenance of the surficial sediments in the western Philippine Sea: implication for modern sedimentation in West Pacific marginal basin

The characteristics and distribution patterns of detrital minerals (0.063 similar to 0.125 mm) in marine sediments provide a significant indicator for the identification of the origin of sediment. The detrital mineral composition of 219 surface sediment samples was analysed to identify the distribution of sediments within the western Philippine Sea. The area can be divided into three mineral provinces: ( 1) province east of the Philippine Trench, the detrital minerals in this province are mainly composed of calcareous or siliceous organisms, with the addition of volcanogenic minerals from an adjacent island arc; (II) middle mineral province, clastic minerals including feldspar, quartz and colorless volcanic glass, sourced from seamounts with intermediate-acid volcanic rock, or erupting intermediate-acid volcano; (III) province west of the Palau-Kyushii Ridge, the matter provenance within this province is complex; the small quantity of feldspar and quartz may be sourced from seamounts or erupting volcano with intermediate - acid composition, with a component of volcanic scoria sourced from a volcano erupting on the Palau-Kyushu Ridge. it is suggested that, ( I) Biogenic debris of the study area is closely related to water depth, with the amount of biogenic debris controlled by carbonate lysocline. (2) Volcaniclastic matter derived from the adjacent island are can be entrained by oceanic currents and transported towards the abyssal basin over a short distance. The weathering products of volcanic rocks of the submarine plateau ( e. g. I Benham Plateau) and adjacent ridges provide an important source of detrital sedimentation, and the influence scope of them is constrained by the intensity of submarine weathering. (3) Terrigenous sediments from the continent of Asia and the adjacent Philippine island arc have little influence on the sedimentation of this study area, and the felsic mineral component is probably sourced from volcanic seamounts of intermediate-acid composition.

Mineral provinces and material provenance of the surficial sediments near the Zhongsha Islands in the South China Sea

Characteristics and distribution patterns of elastic minerals (0.063 similar to 0.125 mm) in bottom sediments represent a significant indicator for the identification of the origin of sediment. One hundred and fourteen surface sediment samples, which were collected from the area near the Zhongsha Islands in the South China Sea, were analysed to identify the mineral suites and their distributions in the study area. The area can be divided into three mineral provinces: ( I) a province of biogenic minerals, which mainly originate from the Zhongsha Atoll; ( H) a province of volcanogenic minerals, which are mainly derived from local basaltic seamounts and small-scale volcanoes that are probably erupting, with some influences from the island-are volcanic region around the South China Sea; and (II) a mixed mineral province whose material source includes biogenic minerals, volcanogenic minerals and terrigenous minerals; the last province can be subdivided into a mixed mineral sub-province of the northeastern part of the study area, in which terrigenous minerals are mainly derived from China's Mainland and do not exceed 17 degrees N, and a mixed mineral sub-province of the southeastern part of the study area, in which terrigenous minerals are derived from Kalimantan and Indochina Peninsula and might be further transported into the deep sea basin through submarine canyons.

阿尔金蛇绿混杂带构造岩石组合及其大地构造意义

The Alytn fault is a huge left-slip fault zone within the Asian continent, and locates such zone that is linked to main tectonic units in the western China, which makes it is very important to the tectonic framework and ore distribution in the western China. Selecting two ophiolite zones (namely Hongliugou-Lapeiquan ophiolite zone and Sulamutage ophiolite zone) respectively located within the southern and northern part of the Altyn fault and based on analysis of field geology characteristics and geochemistry, this paper recognized the rock types (mainly mafic and ultramafic rocks) within the melanges and subdivided each lithological unit based on tectonic environment. At last, this paper rebuilt the paleo-tectonic framework in the Alytn region by the method of tectonic facies and discussed its tectonic evolution with the theory of collision orogens. Combining former results with hard field observation and geochemical analysis, this paper acquired such recognitions to two ophiolte zones within the Altyn fault zone as follows: To the typical regions (Hongliugou, Lapeiquan, Mangya and Sulamutage) within the two ophiolte zones in the Altyn fault zone, this paper offered the field geology profiles. Field geology characteristics show that they are composed of melange bases (mainly abyssal flysch and carbonate rocks) and melange blocks from various tectonic environments, often with fault contact among each lithological units, belonging to typical ophiolitic melange zone. The ultramafic rocks outcropped at the Altyn region are all harzburgites. Remant grains of primary minerals have melted residual texture and elastic deformation texture under high temperature and pressure. The whole-rock analyses show their low TiO_2 contents (0.01～0.04%), low Al, Ca and high MgO contents and wide Mg~# range (89.35～95.57). Rare earth patterns have two types, namely tabacco pipe-shped and LREE-shaped, of which the former is often seen. The chondrite-nomalized Yb values of these analyses are all lower than 1. The spinels have low Ti and high Cr content and most spinels have Cr# higher than 60. All of the above characteristics show that the ultramafic rocks in the Altyn fault zone are components of metmorphic peridotites of ophiolite from depleted mantle source and most ophiolites from this zone belong to supra-subduction zone (SSZ) type ophiolite with a few mid-ocean ridge basalt (MORB) type. Geochemical analyses show that the melange blocks within the Altyn ophiolitic melange zone have different characteristics from various tectonic environments. This paper recognized such tectonic-lithological assemblages as mid-ocean basalts, oceanic island basalts, oceanic island arc tholeiites, island arc calalkaline basalts and island arc granites and inferred that these tectonic-lithological units respectively belongs to such tectonic units as ophiolites, oceanic islands and/or oceanic seamounts, oceanic island arc and a~creting arcs, which show these blocks from oceanic crust and subduction zone for the most part. For the Altyn ophiolites, the chronological data show they become new from the north to the south. Combined with the study on late slip of Altyn fault and North Qilianshan orogeny, the author inferred that the Altyn region had belonged to one part of the North Qilianshan accreting wedge-arc orogeny at paleozoic, and later huge left-slip made it locate modem site.

Making Connections.

The piece is written for an ensemble of alto/bass flute, alto saxophone, viola, vibraphone/bongos and piano. Written as part of a telematic research project connecting musicians and dancers in remote sites, the work involved a collaboration with musicians at Edinburgh Napier University and dancers at Liverpool John Moores University and Nova Southeastern University, Florida.

Towards a regional understanding of Irish traditional music

The geography of Irish traditional music is a complex, popular and largely unexplored element of the narrative of the tradition. Geographical concepts such as the region are recurrent in the discourse of Irish traditional music but regions and their processes are, for the most part, blurred or misunderstood. This thesis explores the geographical approach to the study of Irish traditional music focusing on the concept of the region and, in particular, the role of memory in the construction and diffusion of regional identities. This is a tripartite study considering people, place and music. Each of these elements impacts on our experience of the other. All societies have created music. Music is often associated with or derived from places. Some places construct or reinforce their identity through the music and musicians through which they are associated. The thesis challenges conventional discourse on regional styles that construct an imagined pattern of regions based on subtle musical differences that may, though are not always, shared by people in that region and focuses on the social networks through which the music is disseminated. The thesis also challenges the abandonment of regional styles and the concept of regions in understanding the complex geographies of Irish traditional music (Morton, 2001). It seeks to find a middle ground between discourse analysis, musical analysis, the experience of music and place, and the representation of music and place. The dissertation is divided into three parts. Part one considers the development of music geography, noting and critiquing the abandonment of useful paradigms in both geography and ethnomusicology in search of new ways of understanding. Of particular interest is the concept of the region but it also considers the study of landscape and the humanist approach in cultural geography. The second part focuses on the discourse and study of regions in Irish traditional music and the various agents and processes that shape the concept of the region in Irish traditional music. The final part presents a case study of the Sliabh Luachra region combining and applying the various perspectives and paradigms drawn from geographical, ethnomusicological and anthropological sources. It attempts to generate an understanding of Sliabh Luachra as a region in the Irish traditional music narrative that is based on a combination of musical, socio-cultural and locational/environmental factors.

The endless search for SA: spiritual ideology in Hindustāni music

This dissertation centres on philosophical attitudes presented by North Indian classical musicians in relation to the concept and experience of rāga improvisation. In Hindustāni music, there is a dynamic tension ideology and pragmatism, devotion and entertainment, fixity and improvisational freedom, and cognition and visceral experience. On one hand, rāga is an embodied methodological template for the creation of music. On the other hand, rāga improvisation is conceptualised as a path to metaphysical experience and as an evocation of an ineffable divine presence. A masterful rendition of rāga is both a re-enactment of a systematic prescribed formula and a spontaneous flow of consciousness. This study presents these apparent dichotomies to highlight ideological concerns, while simultaneously contextualising philosophical idealism in relation to pragmatic realities. A central paradigm is the manner in which pragmatic concerns are elevated in status and given spiritual significance. The dissertation begins with a view into historical and religious context. The discussion continues with a speculative investigation positing co-relations between Hindustāni music and central tenets of Indian philosophy, considering how rāga improvisation may manifest as a philosophy of sound. The study then explores the concept of rāga, a modal and conceptual construct that forms the heart of Indian classical music. The final three sections ground the subject of spiritual ideology within the life experience of Hindustāni musicians: ‘Transmission’ looks at the learning and enculturation process, which encapsulates values intrinsic to the ethos of Hindustāni music culture. ‘Practice’ explores the discipline, science and experience of musical practice, revealing core ideological concerns connecting spirituality to musical experience; and ‘Performance’ examines the live presentation of rāga improvisation, and the relationship between music as ‘entertainment’ and music as ‘devotion’. Both ethnographic and musicological, this research is the culmination of various fieldtrips to India, extensive interviews with Hindustāni musicians, fifteen year’s sitār training, and the study of relevant musicological and philosophical texts.

Afro-Cuban Bata Drum Aesthetics: Developing Individual and Group Technique, Sound and Identity

The Lucumi religion (also Santeria and Regla de Ocha) developed in 19th-century colonial Cuba, by syncretizing elements of Catholicism with the Yoruba worship of orisha. When fully initiated, santeros (priests) actively participate in religious ceremonies by periodically being possessed or "mounted" by a patron saint or orisha, usually within the context of a drumming ritual, known as a toque de santo, bembe, or tambor. Within these rituals, there is a clearly defined goal of trance possession, though its manifestation is not the sole measure of success or failure. Rather than focusing on the fleeting, exciting moments that immediately precede the arrival of an orisha in the form of a possession trance, this thesis investigates the entire four- to six-hour musical performance that is central to the ceremony. It examines the brief pauses, the moments of reduced intensity, the slow but deliberate build-ups of energy and excitement, and even the periods when novices are invited to perform the sacred bata drums, and places these moments on an equal footing with the more dynamic periods where possession is imminent or in progress. This document approaches Lucumi ritual from the viewpoint of bata drummers, ritual specialists who, during the course of a toque de santo, exercise wide latitude in determining the shape of the event. Known as omo Ana (children of the orisha Ana who is manifest in drums and rhythms), bata drummers comprise a fraternity that is accessible only through ritual initiation. Though they are sensitive to the desires of the many participants during a toque de santo, and indeed make their living by satisfying the expectations of their hosts, many of the drummers' activities are inwardly focused on the cultivation and preservation of this fraternity. Occasionally interfering with spirit possession, and other expectations of the participants, these aberrant activities include teaching and learning, developing group identity or signature sound, and achieving a state of intimacy among the musicians known as "communitas."

Solo and Chamber Music of Pulitzer Prize-Winning Composers

The Pulitzer Prize in Music, established in 1943, is one of America's most prestigious awards. It has been awarded to fifty-three composers for a "distinguished musical composition of significant dimension by an American that has had its first performance in the United States during the year." Composers who have won the Pulitzer Prize are considered to be at the pinnacle of their creativity and have provided the musical world with classical music compositions worthy of future notice. By tracing the history of Pulitzer Prize-winning composers and their compositions, researchers and musicians enhance their understanding of the historical evolution of American music, and its impact on American culture. Although the clarinet music of some of these composers is rarely performed today, their names will be forever linked to the Pulitzer, and because of that, their compositions will enjoy a certain sense of immortality. Of the fifty-four composers who have won the award, forty-seven have written for the clarinet in a solo or chamber music setting (five or less instruments). Just as each Pulitzer Prize-winning composition is a snapshot of the state of American music at that time, these works trace the history of American clarinet musical development, and therefore, they are valuable additions to the clarinet repertoire and worthy of performance. This dissertation project consists of two recitals featuring the solo and chamber clarinet music of sixteen Pulitzer Prize-winning composers, extended program notes containing information on each composer's life, their music, the Pulitzer Prize-winning composition and the recital selection, and a complete list of all Pulitzer Prize-winning composers and their solo and chamber clarinet music. Featured Composers Dominick Argento, To Be Sung Upon the Water Leslie Bassett, Soliloquies William Bolcom, Little Suite of Four Dances Aaron Copland, As it Fell Upon a Day John Corigliano, Soliloquy Norman Dello Joio, Concertante Morton Gould, Benny's Gig Charles Ives, Largo Douglas Moore, Quintet for Clarinet and Strings George Perle, Three Sonatas Quincy Porter, Quintet for Clarinet and Strings Mel Powell, Clarinade Shulamit Ran, Private Game Joseph Schwantner, Entropy Leo Sowerby, Sonata Ernst Toch, Adagio elegiaco