Concerto in E flat for violin and orchestra : Köchel no. 268 : with orchestral accompaniment arranged for piano /

Mode of access: Internet.

Psalm 150 : for chorus, orchestra and organ /

Mode of access: Internet.

Two Falling Stars: Music of Love, Loss and Living UW Chamber Singers with special guests Illumni Men's Chorale May 27, 2016

Concert Program

Mass for our Time University Chorale University Chamber Singers University Symphony with University Dance Department March 12, 2010

Concert Program

Comparison of techniques for measuring anterior chamber depth:Orbscan imaging, Smith's technique, and van Herick's method

Background Evaluation of anterior chamber depth (ACD) can potentially identify those patients at risk of angle-closure glaucoma. We aimed to: compare van Herick’s limbal chamber depth (LCDvh) grades with LCDorb grades calculated from the Orbscan anterior chamber angle values; determine Smith’s technique ACD and compare to Orbscan ACD; and calculate a constant for Smith’s technique using Orbscan ACD. Methods Eighty participants free from eye disease underwent LCDvh grading, Smith’s technique ACD, and Orbscan anterior chamber angle and ACD measurement. Results LCDvh overestimated grades by a mean of 0.25 (coefficient of repeatability [CR] 1.59) compared to LCDorb. Smith’s technique (constant 1.40 and 1.31) overestimated ACD by a mean of 0.33 mm (CR 0.82) and 0.12 mm (CR 0.79) respectively, compared to Orbscan. Using linear regression, we determined a constant of 1.22 for Smith’s slit-length method. Conclusions Smith’s technique (constant 1.31) provided an ACD that is closer to that found with Orbscan compared to a constant of 1.40 or LCDvh. Our findings also suggest that Smith’s technique would produce values closer to that obtained with Orbscan by using a constant of 1.22.

Shape of the posterior vitreous chamber in human emmetropia and myopia

PURPOSE - To compare posterior vitreous chamber shape in myopia to that in emmetropia. METHODS - Both eyes of 55 adult subjects were studied, 27 with emmetropia (MSE =-0.55; <+0.75D; mean +0.09 ±0.36D) and 28 with myopia (MSE -5.87 ±2.31D). Cycloplegic refraction was measured with a Shin Nippon autorefractor and anterior chamber depth and axial length with a Zeiss IOLMaster. Posterior vitreous chamber shapes were determined from T2-weighted MRI (3-Tesla) using procedures previously reported by our laboratory. 3-D surface model coordinates were assigned to nasal, temporal, superior and inferior quadrants and plotted in 2-D to illustrate the composite shape of respective quadrants posterior to the second nodal point. Spherical analogues of chamber shape were constructed to compare relative sphericity between refractive groups and quadrants. RESULTS - Differences in shape occurred in the region posterior to points of maximum globe width and were thus in general accord with an equatorial model of myopic expansion. Shape in emmetropia is categorised distinctly as that of an oblate ellipse and in myopia as an oblate ellipse of significantly less degree such that it approximates to a sphere. There was concordance between shape and retinotopic projection of respective quadrants into right, left, superior and inferior visual fields. CONCLUSIONS - The transition in shape from oblate ellipse to sphere with axial elongation supports the hypothesis that myopia may be a consequence of equatorial restriction associated with biomechanical anomalies of the ciliary apparatus. The synchronisation of quadrant shapes with retinotopic projection suggests that binocular growth is coordinated by processes that operate beyond the optic chiasm.

Streatfeild v London Philharmonic Orchestra 2012

Case law report - online

Making chamber measurements of net ecosystem exchange in a short-hydroperiod Everglades marsh (at TS/Ph-1b), Taylor Slough

This material is based upon work supported by the National Science Foundation through the Florida Coastal Everglades Long-Term Ecological Research program under Cooperative Agreements #DBI-0620409 and #DEB-9910514. This image is made available for non-commercial or educational use only.

Procesos creativos en entornos musicales inmersivos: un estudio de caso a través del análisis de metaversos. La Avatar Orchestra Metaverse en Second Life

La virtualidad se presenta como un espacio de creación y expansión de la realidad física. La percepción y la relación de los procesos creativos que giran en torno a lo virtual en lo referente a la música, la performance y la experimentación rigen e interaccionan nuestras realidades físicas, aún estando offline. Dichos procesos creativos son estudiados en la Orquesta virtual Avatar Orchestra Metaverse. Hemos navegado a través de la realidad creada por la Orquesta en el ciberespacio, bajo una metodología de estudio de caso -al que hemos llamado cybercase-, asistiendo y participando durante un tiempo en sus ensayos, junto a una posterior actuación. A través de un enfoque interdisciplinar basado en un proceso de análisis de material audiovisual y textual mediado por la presencia, entendida desde lo físico y lo virtual, exponemos los procesos creativos encontrados que subyacen bajo los miembros de la Orquesta, de modo descriptivo, y mediante el empleo de la teoría fundamentada. Como marco teórico mostramos los conceptos de música, espacio, tiempo y los procesos de comunicación gestados por la máquina y la virtualidad, todo ello mediado desde la percepción del ambiente y el interaccionismo simbólico. Presentamos dentro de este marco una revisión teórica del concepto de la creatividad enfocado desde la mecánica cuántica...

Sarah Caldwell, Symphony Orchestra Conductor

General note: Title and date provided by Bettye Lane.