SULFUR IX TO XIII SPECTRAL MEASURMENTS BETWEEN 170 AND 500Å

This paper reports laboratory measurements of the spectrum of highly ionized sulfur. The spectrum of S Ⅸ–S ⅩⅢ has been observed in the wavelength range 170–500 Å. A total of 54 lines have been measured. Forty-two of them have been classified as 2s22pk–2s2pk+1and 2s2pk–2pk+1 transitions. Twelve other lines have been ascribed to 2s–2p,4p–5s,5p–6s,5d–6p, and 6p–8d transitions. These spectral lines have been identified, among which 22 are new and accurately measured. The analysis of the spectra was based on a comparison with other experimental results and calculated values.

ÓLEO de milho: aspectos químicos e nutricionais.

2004

Tecnologia para produção do óleo de soja: descrição das etapas, equipamentos, produtos e subprodutos.

Armazenamento; Preparação; Pré-limpeza; Descascamento; Condicionamento; trituração e laminação; Cozimento; Extração do óleo bruto; Prensagem mecânica; Extração com solvente orgânico; Extração semicontínua; Extração contínua; Destilação de miscela; dessolventização e tostagem do farelo; Recuperação do solvente; Processo de refinação do óleo bruto; Degomagem; Neutralização; Branqueamento; Desodorização; Aproveitamento da "borra"; Refinação física; Hidrogenação.

USO DO óleo de cravo no manejo de peixes - programa 15.

2009

Ciclo XIII de seleção entre e dentro de progênies de meios-irmãos na variedade de milho BR-5011 Sertanejo.

1999

Avaliação do teor e produtividade de óleo em genótipos de girassol.

RESUMO: O presente trabalho teve como objetivo avaliar o teor e a produtividade de genótipos de girassol semeados em segunda safra no ano de 2014 em Campo Novo do Parecis ? MT, no campo experimental do Instituto Federal de Educação Ciência e Tecnologia de Mato Grosso. O delineamento experimental utilizado foi o de blocos casualizados, com 16 tratamentos (16 genótipos) e quatro repetições. As parcelas experimentais foram constituídas de 4 linhas com 6,5 m de comprimento, com espaçamento entrelinhas de 0,45 m, contendo área de 11,7 m², totalizando uma área de 748 m². Foi utilizada a população de 45000 plantas por hectare. Os dados foram submetidos à análise de variância e ao teste Scott-Knott, a 5% de probabilidade. Os genótipos que se destacaram em relação à produtividade de aquênios foram o MG 360, AGUARÁ 06, MG 305, AGUARÁ 04, CF 101, SYN 045, GNZ NEON, HELIO 251 e SYN 3950HO. Para o teor de óleo nos aquênios e produtividade de óleo, o genótipo MG 360 apresentou o maior valor e se destacou em relação aos demais genótipos analisados. ABSTRACT: This study aimed to evaluate genotypes of sunflower seeded second harvest in the year 2014 in Campus Campo Novo do Parecis, in the experimental field of the Instituto Federal de Educação Ciência e Tecnologia de Mato Grosso. The experimental design was a randomized block design with treatments 16 (16 genotypes) and four replications. The experimental plots consisted of four rows 6.5 m long with row spacing of 0.45 m, containing area of 11.7 m², totaling an area of 748 m². The population of 45000 plants per hectare is used. Data were subjected to analysis of variance and the Scott-Knott test at 5 % probability. The genotypes that stood out in relation to achenes productivity were MG 360, AGUARÁ 06, MG 305, AGUARÁ 04, CF 101, SYN 045, GNZ NEON, HELIO 251 and SYN 3950HO. For oil content and oil productivity, MG 360 genotype showed the highest value and stood out in relation to other genotypes.

Sieć grodowa na Kujawach oraz jej funkcje od połowy X do końca XIII wieku

Wydział Historyczny: Instytut Historii

Light in the jungle; the thirty years' mission of Leo and Jessie Halliwell along the Amazon. Edited and with a foreword by Will Oursler.

http://www.archive.org/details/lightinthejungle011943mbp

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

Final Archaeological Investigations at the Maynard-Burgess House (18AP64): An 1850-1980 African-American Household in Annapolis, Maryland

The Maynard-Burgess House was excavated by Archaeology in Annapolis from Fall, 1990 to Summer, 1992. The still-standing house is located at 163 Duke of Gloucester Street in Annapolis' Historic District and is today being restored by Port of Annapolis, Incorporated. Archaeological testing and excavation of the site was developed alongside architectural analyses and archival research as the initial phase of the home's restoration. The Maynard-Burgess House was continuously occupied by two African-American families, the Maynards and the Burgesses, from the 1850s until the late 1980s. The main block of the house was built between 1850 and 1858 by the household of John T. Maynard, a free African American born in 1810,and his wife Maria Spencer Maynard. Maynard descendants lived in the home until it was foreclosed in 1908 and subsequently sold to the family of Willis and Mary Burgess in 1915. Willis had been a boarder in the home in 1880, and his sister Martha Ready had married John and Maria's son John Henry. Burgess descendants lived at the home until its sale in 1990.

VINTAGE MODERNISM: EARLY EXPERIMENTALIST MUSIC FOR VIOLIN IN THE UNITED STATES

The historical narrative of concert music in the early twentieth century has focused a great deal on the influence of European composers as well as the American composers who went to Europe to study. Often overlooked, however, is the influence of an entire generation of composers working in the United States during that time period. These artists experimented with polyrhythm, polytonality, dissonant counterpoint, and a whole host of other musical techniques in order to express their perceptions of a changing world. Over the years, the new techniques became associated with various movements including futurism, experimentalism and ultramodernism. Regardless of label, these composers were some of the first to introduce the new musical styles to the listening public.The recitals that make up this dissertation explore the sound world of experimentalist composers working in the United States during the early twentieth century. Serving as the foundation of these recitals are all four of the violin sonatas by Charles Ives, the “grandfather” of modernist music whose financial support helped to foster a whole generation of American composers. Also prominently featured is the music of Henry Cowell. His Suite for Violin and Piano, Mosaic Quartet (String Quartet No. 3), and Quartet Euphometric demonstrate the composer's use of cluster tones, dissonant counterpoint, polymeter, and indeterminate form. Additional works by George Antheil, Leo Ornstein, Wallingford Riegger, Dane Rudhyar, Carl Ruggles, and Ruth Crawford (Seeger) highlight other approaches taken by members of the ultra-modernist movement. Rounding out the repertoire for these recitals are works by Johanna Beyer and Conlon Nancarrow, both of whom either worked with or were influenced by Cowell in some way. All of the pieces selected date roughly from 1900 to the mid 1930's. Thus, the purpose of these recitals is not to provide a comprehensive overview of each composer's development, but rather to examine the influence and interconnections of a specific cross-section of the musical landscape.