Tracing Neoclassical Influences in selected solo and chamber music for the clarinet

The musical period of Neoclassicism began in the 1920's, between the first and second world wars. It was initiated by French composers and eventually spread to other countries. One of the most important themes to emerge from the movement was to escape from the formless, rather emotional music of the Romantic era and instead, emphasize balance, order, objectivity and clarity in musical form. Many popular clarinet repertoires are enjoyed by performers and listeners because the music is enjoyable to play and easy to listen to. In particular, classically influenced clarinet music is quite interesting because it features musical elements from both the past and contemporary musical styles. For instance, some composers have integrated preexisting, more traditional styles of composition with lighter styles of modern culture such as popular music and Jazz. It is difficult to discover purely neoclassical clarinet repertoires even though many composers created their pieces during the neoclassical era. What we most commonly find are both neoclassical and non-neoclassical influences in compositions from that time period. Thus, I aim to trace the influence of neoclassicism in selected clarinet repertoires that exist today. It is my hope that increased awareness and knowledge about accessible clarinet music may encourage the general public to develop a deeper interest in a wider sphere of clarinet music, beyond what is considered popular today. The works performed and discussed in this dissertation are the following: (Recital I) Duo Concertante by Darius Milhaud; Sonata by Leonard Bernstein; Sonata for Two Clarinets by Francis Poulenc; Duos for Flute and Clarinet, Op. 34 by Robert Muczynski; Dance Preludes by Witold Lutoslawski, (Recital II) Sonatine by Arthur Honegger; Time pieces by Robert Muczynski; Suite for Clarinet, Violin and Piano by Darius Milhaud; Sonate for Clarinet, Flute and Piano by Maurice Emmanuel; Tarantelle for Flute, Clarinet and Piano, Op. 6 by Camille Saint-Saëns, (Recital III) Sonatina by Joseph Horovitz; Suite from L'histoire du Soldat for Clarinet, Violin and Piano by Igor Stravinsky; Contrasts for Clarinet, Violin and Piano by Béla Bartók The recitals that took place on December 1, 2012 and on April 25, 2013 were performed in the Ulrich Recital Hall of the Clarice Performing Arts Center in College Park, Maryland. The recital that took place on November 2, 2013 was performed at the Gildenhorn Recital Hall of the same performing arts center.

From clonal selection to immune networks: induction of silent idiotypes.

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Idiotypic networks and self-recognition in the immune system.

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Negative hormonal control by the androgen DHT and antiestrogen EM-139 on cell cycle kinetics and proliferation in human breast cancer ZR-75-1 cells

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Characteristics of the biphasic action of androgens and of the potent antiproliferative effects of the new pure antiestrogen EM-139 on cell cycle kinetic parameters in LNCaP human prostatic cancer cells

The most potent steroid in human prostatic carcinoma LNCaP cells, i.e. dihydrotestosterone (DHT), has a biphasic stimulatory effect on cell proliferation. At the maximal stimulatory concentration of 0.1 nM DHT, analysis of cell kinetic parameters shows a decrease of the G0-G1 fraction with a corresponding increase of the S and G2 + M fractions. In contrast, concentrations of 1 nM DHT or higher induce a return of cell proliferation to control levels, reflected by an increase in the G0-G1 fraction at the expense of the S and especially the G2 + M fractions. Continuous labeling for 144 h with the nucleotide analogue 5'-bromodeoxyuridine shows that the percentage of cycling LNCaP cells rises more than 90% after treatment with stimulatory concentrations of DHT, whereas in control cells as well as in cells treated with high concentrations of the androgen, this value remains below 50%. Although LNCaP cells do not contain detectable estrogen receptors, the new pure steroidal antiestrogen EM-139 not only reversed the stimulation of cell proliferation and cell kinetics induced by stimulatory doses of DHT but also inhibited basal cell proliferation.

Geography

This chapter focuses on the barriers to all students achieving their full potential that are rooted historically in the disparate understanding of geography itself. How the subject is delivered is scrutinized from both the historical and a pragmatic perspective but, importantly, the link between past and present is highlighted as key if the subject is finally to be embedded as a cohesive, mainstream subject that allows students to fully understand the realities of their world.

Astonishing apples: visualising the novel

This paper explores the developing relationship between fictional and visual representations. The impact of visual art on the novel as mimetic is an issue that writers have engaged with and written about from the mid-nineteenth century to the present day, often raising the question of the art/life dialectic and how it has evolved through the novel’s exploration of ideas. From painting, photography, cinema, television and newer digital visual cultures writers have sought to involve themselves in a critical examination of the impact of changes in these forms on other art form and on wider society. How do these visual forms affect what it means to be an artist, a writer, a human being? The paper takes the work of Paul Cezanne as a starting point in the history of representation. Writers such as Rainer Maria Rilke, theorists such as Maurice Merleau-Ponty, and other artists like Picasso, have been influenced by, or responded to, Cezanne’s work and to Cezanne’s writings on art and his letters to his great childhood friend, the novelist Emile Zola. By discussing the creative practice of writing a novel this paper will examine questions of how the novel can, and should, respond to the impact of visual culture’s seeming dominance over other art forms. It also explores what impact new forms of visual culture have had upon the mimetic and formal aspects of the novel and how the novel works as representational, especially in relation to representations of human consciousness. [From the Author]