University Symphony Orchestra, May 29, 1975

Concert program for University Symphony Orchestra, May 29, 1975

The University Symphony Orchestra, December 3, 1976

Concert program for The University Symphony Orchestra, December 3, 1976

University Symphony Orchestra, January 30, 1977

Concert program for University Symphony Orchestra, January 30, 1977

University Symphony Orchestra, February 25, 1977

Concert program for University Symphony Orchestra, February 25, 1977

University Symphony and Student Soloists in a Concerto Concert, January 13, 1963

Concert program for University Symphony and Student Soloists in a Concerto Concert, January 13, 1963

The University Symphony Orchestra, January 26, 1982

Concert program for The University Symphony Orchestra, January 26, 1982

The University Symphony Orchestra, January 28, 1966

Concert Program for The University Symphony Orchestra, January 28, 1966

The University Symphony Orchestra, March 10, 1967

Concert program for The University Symphony Orchestra, March 10, 1967

Concerto Concert with Members of the University Symphony Orchestra, May 14, 1969

Concert program for Concerto Concert with members of the University Symphony Orchestra, May 14, 1969

Niagara Symphony Orchestra fonds, 1926, 1948-1998, n.d.

In 1948, The St. Catharines Civic Orchestra was founded by Jan Wolanek who was also the first conductor. Initially, this was a community orchestra and in 1963 its governing body assumed the name St. Catharines Symphony Association. In 1978 the name was again changed to The Niagara Symphony Association to reflect regional responsibilities. Wally Laughton was named Assistant Conductor in 1952/53. R.C. Clarke took over the orchestra for an interim period after Wolanek left in 1957. In 1958 Leonard Pearlman became the Music Director. It was under his direction that the Niagara Symphony Chorus came into existence in 1963. Milton Barnes succeeded Pearlman in 1964 and he was responsible for directing the symphony’s first opera production. He also made a concerted effort to attract younger people to symphonic music. In 1972 Leonard Atherton became the Music Director. He started the Cantata Choir and the Madrigal Singers. It was under his tenure that the orchestra became professional. When Atherton left in 1980, there were three seasons of guest conductors, the most notable of these conductors was Uri Mayer. In 1981 James Vincent Fusco was appointed as composer in residence and in 1983 Ermanno Florio became the Music Director. He retained this position until 1995 when Michael Reason took over. Daniel Swift was appointed as Music Director and Conductor in 1999 and the Niagara Symphony Orchestra became the orchestr in residence at Brock University. Laura Thomas was appointed as Associate Conductor 1n 2004. Daniel Swift’s resignation in 2008 began a search for a new Music Director. Bradley Thachuck was appointed as Music Director Designate and Principal Conductor in 2010. The orchestra is a fully professional, charitable institution with 52 members.The orchestra has also been led by Victor Feldbrill and Howard Cable. A junior symphony was first formed under Leonard Pearlman in 1960/61, but it wasn’t until 1965 that The St. Catharines Youth Orchestra was founded. The orchestra has consistently been an award winner in music festivals. The musicians range in age from 12 to 18 years. The highlight of the 1973-74 season was the orchestra’s participation in the first Canadian Festival of Youth Orchestras at The Banff School of Fine Arts. The St. Catharines Youth Orchestra has evolved from the St. Catharines School String and Brass Ensembles to a full scale symphony under the direction of conductor Paul van Dongen. In 1974 the Symphony House music program came into existence. It was 1976 when Richard Grymonpre was hired as the principal violinist of the St. Catharines Symphony Orchestra and conductor of the St. Catharines Youth Orchestra. Tak Ng Lai took over the position as conductor in 1978. Laura Thomas is currently the Music Director of The Niagara Youth Orchestra. Source: Niagara Symphony, Orchestra in Residence, Brock University website and notes from Niagara Symphony files

Union Pacific Railway from Kansas City , Omaha, St. Joseph to Denver, San Francisco, Portland, Helena, Butte, Boise, Leadville, Durango, Deadwood and all cities and mining camps in the west schedule

Union Pacific Railway from Kansas City , Omaha, St. Joseph to Denver, San Francisco, Portland, Helena, Butte, Boise, Leadville, Durango, Deadwood and all cities and mining camps in the west schedule, Jan. 15, 1882.

Three works on religious themes : psalmus 150, string quartet on the life of Saint John Paul II and symphony “The Redemption”

Dans cette dissertation, je présente trois pièces sur des thèmes religieux composées au cours de ma maîtrise, ainsi que leur analyse : Psalmus 150 pour chœur de jeunes à trois voix, chœur d'adultes à huit voix et orgue ou piano ; Quatuor à Cordes sur la vie de Saint Jean-Paul II ; et la Symphonie « La Rédemption » pour orchestre et chœur. Malgré les particularités de chacune, elles présentent des aspects communs. L'idée principale des compositions fut d'éviter la rupture avec la tradition tout en apportant des nouvelles idées aux pièces, et de souligner l'importance de ma recherche sur la beauté. À cet égard, certaines techniques contemporaines, ainsi que les sonorités médiévales des quintes et octaves parallèles, furent utilisées en accord avec un langage tonal / modal qui demeure la base des trois compositions. Le chant Grégorien fut aussi une importante caractéristique de ces compositions. Pour mieux comprendre les analyses des œuvres, deux techniques seront expliquées, la douce toile de dissonances linéaires et l'harmonie d'accords parfaits majeurs. L'analyse de chaque pièce est divisée en deux parties. La première est une vision générale et la deuxième est plus détaillée. À la fin, les connaissances acquises par la composition des ces œuvres seront résumées et l'importance intemporelle de la beauté sera réaffirmée.

Ecotoxic Metal Records and its Degree of Geochemical Symphony in the Niche of Cochin Estuarine System- A Theraptic Perspective

The heavy metal contamination in the environment may lead to circumstances like bioaccumulation and inturn biomagnification. Hence cheaper and effective technologies are needed to protect the precious natural resources and biological lives. A suitable technique is the one which meets the technical and environmental criteria for dealing with a particular remediation problem and should be site-specific due to spatial and climatic variations and it may not economically feasible everywhere. The search for newer technologies for the environmental therapy, involving the removal of toxic metals from wastewaters has directed attention to adsorption, based on metal binding capacities of various adsorbent materials. Therefore, the present study aim to identify and evaluate the most current mathematical formulations describing sorption processes. Although vast amount of research has been carried out in the area of metal removal by adsorption process using activated carbon few specific research data are available in different scientific institutions. The present work highlights the seasonal and spatial variations in the distribution of some selected heavy metals among various geochemical phases of Cochin Estuarine system and also looked into an environmental theraptic/remedial approach by adsorption technique using activated charcoal and chitosan, to reduce and thereby controlling metallic pollution. The thesis has been addressed in seven chapters with further subdivisions. The first chapter is introductory, stating the necessity of reducing or preventing water pollution due to the hazardous impact on environment and health of living organisms and drawing it from a careful review of literature relevant to the present study. It provides a constricted description about the study area, geology, and general hydrology and also bears the major objectives and scope of the present study.