Deusa, Sereia, Rainha do Mar: representações artísticas de Iemanjá

A arte religiosa afro-brasileira resulta da miscigenação das culturas negra, ameríndia e européia através dos séculos. Diversas representações artísticas das divindades afro-brasileiras continuam a ser produzidas mesmo nos dias atuais com inúmeras imagens através de desenhos, objetos rituais, indumentária e esculturas, os quais são fontes de pesquisa artística e etnográfica. A mulher está presente na arte afro-brasileira de uma maneira muito peculiar, principalmente no contexto religioso. Iemanjá, uma divindade feminina, é a Mãe Ancestral e ocupa lugar de destaque no imaginário popular, a orixá do Mar e de todas as águas. É constantemente tema para diversas expressões artísticas e, naturalmente, sua representação e iconografia são intensas e ricas. É importante compreendermos como essa imagem foi sendo construída através do tempo, desde a diáspora africana - sua representação religiosa no Candomblé e na Umbanda, sua imagem associada ao mito das sereias, a influência das iconografia católica até a apropriação de sua imagem por diversos artistas brasileiros como Emanoel Araújo, Jorge dos Anjos, J. Borges, Carybé, Alex Flemming, Rodrigo Cardoso e Nelson Leirner

Imaginação social jesuítica do Padre Antônio Vieira no Maranhão do Século XVII

O padre Antônio Vieira é uma figura icônica do Barroco literário no Brasil do século XVII, visto por muitos como um dos grandes representantes da Companhia de Jesus. A presente tese busca contemplar um tema recorrente na historiografia jesuítica brasileira que trata do papel desempenhado pelos jesuítas na tentativa de construção de uma terrena cidade celeste segundo Neves, no novo mundo (Brasil colônia) e, particularmente, das práticas sociais (sobretudo, políticas, religiosas, ideológicas, jurídicas) do padre Antônio Vieira suas implicações e rupturas no Maranhão seiscentista sob o olhar do imaginário social. Através de três sermões proferidos no Maranhão, pretendemos analisar e dialogar sobre as imagens mais recorrentes na produção sermonística do Padre Antônio Vieira: como nosso objeto de pesquisa também é a produção imagética do sujeito Vieira, utilizamos como referencial teórico a noção ideológica de sujeito de Mikhail Bakhthin, as noções do Imaginário de Gilbert Durand e Gaston Bachelard, as teorias sobre o Imaginário Social jesuítico do antropólogo e pesquisador Luiz Felipe Baêta Neves e outros grandes teóricos, para nos ajudar a analisar essas imagens. Buscamos uma possível estrutura do imaginário social do padre Antônio Vieira durante sua presença no Maranhão a partir dos sermões analisados e levantamos os processos de ruptura e continuidade com os projetos do missionário e da Companhia de Jesus na formação da sociedade maranhense.

Carbono: arte, ciência e as impurezas do tempo

Esta dissertação enfoca uma série de trabalhos artísticos desenvolvidos antes e durante o período do mestrado, como Sumi, Infiltração e Carbono, que utilizam a fotografia, o vídeo, a instalação, o desenho, a frotagem e a escultura como meios de produção. A partir das obras desenvolveu-se uma discussão teórica acerca de algumas das relações possíveis entre a arte e a ciência, enquanto esferas produtoras de conhecimento. O embate entre o homem e a natureza, através da filosofia, da ciência e da arte, é objeto de estudo, além das especificidades do átomo Carbono, em especial suas estruturas macroscópicas os materiais e suas transformações ao longo do tempo. A instabilidade, a entropia, o fluxo, os paradigmas e as diversas concepções de Tempo são alguns dos temas tratados nesta pesquisa, que utilizou como base os escritos e as obras de artistas, cientistas, filósofos e pesquisadores da arte e da ciência

Espécies de Rhipidodontini das bacias do alto rio Paraná, rio São Francisco e rios costeiros do Atlântico Leste, Norte e Nordeste (Bivalvia: Unionoida: Hyriidae)

Rhipidodontini (Rhipidodonta Mörch, 1853 + Diplodon Spix in Wagner, 1827) é grupo de bivalves de água doce tem taxonomia complicada, devido às descrições originais sucintas e muitas vezes pouco ou não ilustradas, somado a isto, estes bivalves carecem de uma revisão detalhada. Estas lacunas de informação têm gerando uma grande flutuação nas espécies consideradas válidas pelos diferentes autores, dificultando a identificação das mesmas, assim como da biologia e distribuição. Assim, se propôs neste estudo a revisão taxonômica das espécies de Rhipidodontini nas bacias do alto rio Paraná, rio São Francisco e rios costeiros do Atlântico Leste, Norte e Nordeste. Para alcançar este objetivo vistoriamos material em coleções no Brasil e exterior. Coletas foram realizadas em diversas localidades para obtenção de exemplares para descrição das partes moles e gloquídios. As informações obtidas, somado ao descrito na literatura, foram utilizadas para traçar um panorama de distribuição e conservação das espécies. As principais características das conchas foram utilizadas para elaboração de uma chave dicotômica para auxílio na identificação. Uma análise morfométrica foi empregada com o intuito de distinguir as espécies através da forma da concha. Reconhecemos Diplodon e Rhipidodonta incluídos na tribo Rhipidodontini. Em Diplodon foram identificadas seis espécies nas bacias estudadas: Diplodon ellipticus Spix in Wagner, 1827; Diplodon fontainianus (dOrbigny, 1835); Diplodon jacksoni Marshall, 1928; Diplodon multistriatus (Lea, 1831); Diplodon paulista (Ihering, 1893) e Diplodon rhombeus Spix in Wagner, 1827. Apesar de Diplodon granosus (Bruguière, 1792) possuir extensos registros na região estuada, a espécie foi limitada a região amazônica na nossa avaliação. Em Rhipidodonta, foi reconhecida uma única espécie, Rhipidodonta garbei (Ihering, 1910). Entre estas espécies, temos algumas tradicionalmente reconhecidas como válidas (e.g. D. ellipticus e D. granosus), contudo, outras foram revalidadas (e.g. D. jacksoni e R. garbei) e redefinidas perante a análise do material tipo, partes moles e gloquídio. Não foi possível a eleição de uma única característica morfológica para a separação das espécies, porém detalhes das brânquias, estômago, contorno da concha e escultura umbonal figuraram entre as mais utilizadas. Para a separação dos gêneros de Rhipidodontini foram empregados atributos dos gloquídios (e.g. gancho gloquidial, protuberância e forma do gloquídio) e das brânquias (e.g. forma da brânquia e conexão entre as lamelas). A chave dicotômica com base em características das conchas auxiliou a separar as espécies de Rhipidodontini. A análise morfométrica constituiu uma ferramenta útil na separação das espécies, corroborando as identificações prévias. Salientamos que o estudo aqui apresentado deve ser expandido para outras bacias hidrográficas sul-americanas com o intuito de se conhecer a real diversidade destes bivalves de água doce

Reconstruction of Outdoor Sculptures from Silhouettes under Approximate Circular Motion of an Uncalibrated Hand-Held Camera

This paper presents a novel technique for reconstructing an outdoor sculpture from an uncalibrated image sequence acquired around it using a hand-held camera. The technique introduced here uses only the silhouettes of the sculpture for both motion estimation and model reconstruction, and no corner detection nor matching is necessary. This is very important as most sculptures are composed of smooth textureless surfaces, and hence their silhouettes are very often the only information available from their images. Besides, as opposed to previous works, the proposed technique does not require the camera motion to be perfectly circular (e.g., turntable sequence). It employs an image rectification step before the motion estimation step to obtain a rough estimate of the camera motion which is only approximately circular. A refinement process is then applied to obtain the true general motion of the camera. This allows the technique to handle large outdoor sculptures which cannot be rotated on a turntable, making it much more practical and flexible.

中国蔷薇属芹叶组（Rosa Sect. Pimpinellifoliae DC. ex Ser.）的分类学研究

本研究通过我国CDBI、 KUN、PE、SZ等主要标本馆约3, 500份馆藏标本的研究和野外考察相结合，对我国蔷薇属（Rosa L.）芹叶组(Sect. pimpinellifoliae DC. ex Ser.）植物以及相关组的一些种进行了性状特征、形态和微形态的研究，对该组的一些种的形态特征描述进行了补充，同时给出详细的地理和海拔范围分布图。综合花粉以及种子（瘦果）形态的研究结果重新制订了分种检索表，同时，对该组一些形态相近容易混淆的种进行了对比研究，特别对一直存在争议的绢毛复合体（绢毛蔷薇R. sericea Lindl.和峨眉蔷薇R. omeiensis Rolfe）进行了大量宏观形态特征的研究，并用光学显微镜（LM）和扫描电镜(SEM)对二者的花粉及种子形态、微形态进行对比研究和分析，主要研究内容包括： 1. 芹叶组孢粉研究 对芹叶组的10个种及相关的4个组共17个种（18个样品）的植物花粉进行了光镜和扫描电镜观察和比较研究。研究结果表明：蔷薇属植物花粉粒大小为中等偏小，极轴长23.98[21.82(R. graciliflora Rehd. et Wils.)～29.18(R. tsinglingensis Pax. et Hoffm.)] μm，赤道轴长28.65[24.15（R. graciliflora）～34.70(R. davidii Crép.)] μm；花粉属辐射对称等极单花粉，花粉形态赤道面观呈球形到超长球形；极面观为三裂圆形或近圆形,三孔沟，孔缘加厚,具中部突起的桥状盖。花粉外壁纹饰为条纹状，光镜下形态特征相差不大；在电镜下外壁条纹和脊沟内穿孔的形状、大小和频度等特征，常具组至种水平上的可见变异，可作为组至种水平划分的依据。 根据花粉外壁条纹特征及穿孔形状和数目等特征，本研究将这些植物的花粉归为5个类型，并编制了分组检索表。同时，根据条纹状的清晰度，排列方式、条纹形状、穿孔大小及其频度等方面的差异，各有特点，对该组的10个种编制了分种检索表。 2. 芹叶组种子形态研究 应用光学显微镜和扫描电镜对我国蔷薇属芹叶组14个种及相关组5个组共36种植物的种子宏观形态及种皮微形态特征进行了观察研究。结果显示，蔷薇属种子形态多样,形状分别为肾形、卵形或锥形等；种子颜色以淡棕色、褐色以及土黄色为主；种子大小种间相差悬殊，相对体积为（长×宽×厚）36.66（4.79～114.47) mm3。光镜下，种子宏观形态特征具组内一致性，在扫描电镜下种子表面结构特征因种而异，其纹饰以网纹为主，可分为3种类型，即近平滑型、负网纹型和网纹型。研究结果表明，蔷薇属种子表面纹饰与地理分布关系不大,具有组及种内稳定性。其种子形态、大小、表而纹饰类型等特征可作为蔷薇属组及种水平上的分类依据。 结合蔷薇属花粉形态研究结果，得出蔷薇属种皮微形态特征与花粉外壁纹饰特征相吻合，在代表组及种的特征上具相关性的结论。同时根据种子形态、微形态结构特征的组间区别和种间差异编制了分组及芹叶组14个种的分种检索表。 3. 绢毛蔷薇复合体的研究 通过对大量标本的研究、野外观察以及扫描电镜对绢毛蔷薇复合体的花粉形态和种皮表面结构进行研究，通过对小叶、花粉及种子的形态定量分析结果支持Rowley (1959)的观点，将峨眉蔷薇处理为绢毛蔷薇的一个变种。 综上研究结果得出，蔷薇属植物的小叶片数目、花被基数以及花粉及种子形态等性状是较为稳定的，这些特征可很好的作为分类学依据。 The morphology, pollen exine sculpture and seed coat structure of the species of Rosa sect. Pimpinellifoliae and related sections were studied.About 3,500 herbarium specimens at CDBI, KUN, PE, and SZ were examined. Field work in Sichuan and Yunnan were conducted. Revisions of some species were carried out and a new key to species of sect. Pimpinellifoliae was proposed based on morphology, pollen exine sculpture and seed coat structure, Detailed morphological descriptions, geographical distributions and the altitudinal ranges of some taxa are given. The systematics of the species complex, the Rosa sericea complex (R. sericea Lindl. & R. omeiensis Rolfe), was emphasized. This thesis focused on the following three aspects: 1. Pollen morphology of Rosa sect. Pimpinellifoliae The pollen morphology of 18 samples representing 10 species of the Eurasian Rosa sect. Pimpinellifoliae and 7 additional species of related sections was investigated under LM and SEM. The pollen grains are monadic, actinomorphic, equipolar, medium-sized, spheroidal to perprolate in equatorial view, 3-lobed circular or semi-circular in polar view, crassimarginate, pontoperculate, and with striate exine sculpture. The striate sculpture varies among sections and species. The equatorial axis ranges from 17.97 μm (R. sikangensis) to 29.18 μm (R. tsinglingensis) with an average of 23.98 μm in length, while polar axis varies from 24.15 μm (R. gracilifolra) to 34.70 μm (R. davidii) with an average of 28.65 μm in length. The pollens can be divided into five types based on striate sculpture and a key to the sections sampled was proposed accordingly. The pollen morphology of species of sect. Pimpinellifoliae is more homogeneous and different from other sections sampled and did not support the two-series subdivisions in sect. Pimpinellifoliae. A key is also provided based on characers of pollen morphology among species in sect. Pimpinellifoliae. 2. Seed coat structure of Rosa sect. Pimpinellifoliae The seed coat structure of 39 samples representing 14 species of Rosa sect. Pimpinellifoliae and 12 additional species of related sections was investigated under LE and SEM. The seed relative volume (Length × width × thickness) ranges from 4.79 to 114.47 mm3 with an average of 36.66. mm3. The seeds are reniform, ovate or oblong in shape, with orange-brown, light brown or deep brown color. Seed coat sculpture was reticulate or striate-like reticulate. There was no difference in sculpture character of various speices under LM, while three types of seed coat sculpture were identified under SEM and a key to species based on the seed coat sculpture was provided. The three types of seed coat sculpture were nearly smooth, areolate and reticulate. The study of the seed coat sculpture of same species sampled from different populations showed that characters on the seed coat are stable, and thus the size, shape and seed coat sculpture can be used in species level identification. Interestingly, characters in the seed coat sculpture and the pollen morphology in sect. Pimpinellifoliae are consistent at in specific or sectional levels. A key to the 14 species sampled was given based on seed coat sculpture. 3. The study on Rosa sericea complex The Rosa sericea complex contains R. omeiensis and R. sericea. They are morphologically similar to one another and the systematic status of R. omeiensis has been controversial. In this study we examined large numbers of herbarium specimens of R. omeiensis and R. sericea and conducted field observations in the Hengduan Mts.. We also performed SEM study of pollen morphology and seed coat structure of R. omeiensis and R. sericea. We further carried out intensive morphometric study on the leaflet, pollen, and seed morphology. Our results showed that R. omeiensis should be sunk to be a variety of R. sericea, just as Rowley’s treatment in 1959. In conclusion, the features in the number of leaflet and petal, and the morphological character on pollen and seed are relatively stable. Therefore these characters are very useful in taxon delimition.

74 Front Street (for solo cello)

74 Front Street is intended as a musical response to the work of American sculptor Fred Sandback (1943-2003), in particular his string sculptures which are intentionally uncomplicated, minimal and strikingly beautiful. The relationship between these string works and music is rather distinct; indeed, before formally studying sculpture Sandback made a number of string instruments. He has said that his string works evolved from a desire to rid art of excessive decoration and, while there are instances of activity in 74 Front Street, much of the piece aims to reflect the simplicity of Sandback’s work.

Les Tritons de Th?ophile

Sibona, Bruno, 'Les Tritons de Th?ophile', L'Esprit cr?ateur - Literature and Ecology (2006) 46(2) pp.17-32

Handheld laser profilometry of certain medieval inscribed stones

Higher Education Authority (PRTLI as part of National Development Plan)

Sonata Development at the Turn of the Century: From Liszt to Stravinsky

The sonata began to lose its position of predominance among compositions in the middle of the 19th century. Having been the platform for harmonic and thematic development of music since the late baroque period the sonata entered a process of reevaluation and experimentation with form. As a result fewer sonatas were being composed with some composers dropping the genre completely. This dissertation looks at the different approaches taken by the German, French and Russian schools of composition and compares the solo and chamber music applications of the sonata form. In the German tradition Franz Liszt's Sonata in b minor sets the standard for the revolutionary approach to form while the Berg Sonata is a very conservative application of form to an innovative use of extended chromaticism. Both composers chose to write one movement through composed pieces with Liszt working with a very expansive use of form and Berg being extremely compact and efficient. Among the Russian composers, Prokofieff's third sonata is also a one movement sonata, but he falls between Liszt and Berg in terms of the length of the piece and the use of innovative musical language. Scriabin uses a two movement approach, but keeps the element of a through composed piece with the same important material spanning both movements. Stravinsky is the most conservative of these with a three movement sonata that uses a mix of chromaticism and baroque and classical style influences. The French almost stopped composing true sonatas except for chamber music where Franck and Fauré write late romantic sonatas, while Debussy is very innovative within a three movement sonata. Estampes, by Debussy, are taken in almost as an afterthought to illustrate the direction Debussy takes in his piano solo music. While Estampes is by definition a set of character pieces they function like a sonata with three movements.

SELECTED VARIATIONS BY COMPOSERS IN GERMANY AND FRANCE

The Haward of Dictionary of Music (1983), defines variation as "a technique modifying a given musical idea." From the Baroque period on, the form and the techniques of variation were developed and enriched in Germany and France. Therefore, I presented the works of composers from these two nations. Even though there was a vast number of possibilities, I wanted to be scholastically fair and interesting in making my selections by choosing well-known pieces along with lesser-known ones. Haydn's well-known Variations in F minor consist of two sets of double variations which break into an improvisation fantasy. The first movement of Beethoven Sonata in A flat major, Op. 26, is a set of five variations on the composer's original theme. The variations are positioned in the first movement instead of Sonata-Allegro form. In 1861 Brahrns composed the Variations and Fugue, Op. 24, on the theme of Handel. Brahms displays a wealth of rhythmic, harmonic and textural contrasts in the variations. Chopin's E Major Variations without opus number are written on a Swiss influenced German folksong. Faure's Theme and Variations in C sharp minor, Op. 73, includes eleven variations. The work displays the composer's subtlety, grace and reticence. 12 Variationen iiber ein eigenes Thema were written by Alban Berg as a composition study with Schonberg. The Finale of Dutilleux's Piano Sonata, titled "Chorale with Variations", is written in an impressionistic style. A rich expressiveness is well blended in a classical form. In 1742, the remarkable Aria and thirty variations known as the Goldberg Variations were composed by J. S. Bach. The thirty Variations are unified by the bass line, which forms the foundation of the Aria. The pieces discussed above were presented in three recitals. Compact disc recordings of these recitals are available in the Michelle Smith Performing Arts Library of the Clarice Smith Performing Arts Center at the University of Maryland.

The Development of Piano Variations in the Romantic Era

The purpose of this study is to illustrate the development of piano variations as a genre during the Romantic era. In order to facilitate this examination of piano variations techniques, a brief look at the types of variation procedures used by composers of previous eras will assist in understanding developments that later occurred in the Romantic period. Throughout the Baroque era, composers preferred the fured-bass, fixed-melody, and harmonic forms of variation. The crowning achievement of Baroque keyboard music, Bach's Goldberg Variations (1725), contains examples of the "constantharmonic" method in its collection of 30 variations, each of which maintains both the bass and harmonic structure of the themes. While most composers of the classical period favored the "melodic-outline" form of variation, Haydn developed hybrid variation procedure that exhibits recurrence of material rather than repetition, alternating variation (ABABA), rondo variation (ABACA), and ternary variation (ABA). Haydn, Mozart and early Beethoven variations also exhibit simpler textures than do their Baroque predecessors. The nineteenth century produced numerous compositions that display variation techniques, some based on such older, classical models as melodic-outline variation and hybrid variation, others in the style of the character variation or fiee variation. At the beginning of the nineteenth century, Beethoven and Schubert used such classical variation techmques as melodic-outline variations and hybrid variations. Beethoven's late sonatas displayed such new means of expression as variation, fugue, and dramatic recitatives. The third movement of the Sonata in E major, Op. 109 (1820) has a theme and six variations of the melodic-outline type. Johannes Brahms was particularly fond of composing variations for piano. Among the best known examples of formal-outline variations are those found in the Variations and Fugue on a Theme of Handel, Op. 24 (1861). Character variations, in which styles are characterized by the retention and variability of particular elements, also flourished during the Romantic period. Cesar Franck's Variations Symphoniques (1885) are, perhaps, among the most important examples of free variations. This composition is a one-movement work consisting of three sections, Introduction, Variations, and Finale (all movements played "attaca"). This work combines two independent classical formal structures, the concerto and the variation.

The Scherzo in Selected Works for Piano

This performance project will cover performing issues in terms of technique in the scherzo. The Dictionary of Musical Terms defines technique as "the system of creating music, the musical slull to show personality by controlling tones that is not an abstract theory but a practical ability in composition or performance." My project focuses on techniques in fast tempos, specifically those found in the scherzo form and in concertos containing a scherzo character. The term scherzo has varied in its meaning and form throughout history. In the Baroque period, a scherzo was a work of light vocal or instrumental character. In the Classical period, scherzo still meant light in style, but it also indicated a quick tempo, often in 2/4 time. The scherzo was usually a single movement in a suite or multi-movement work. Like the minuet form, the scherzo contained a contrasting trio section. The scherzo was also standard in Romantic and post-Romantic symphonies and related genres. Because of the high degree of subjectivity in Romantic music, genres that stressed emotional content over abstract form developed rapidly. Some composers even wrote one-movement pieces entitled scherzo. These pieces became very important because they usually expressed a particular character or mood. The objective of my dissertation project is to research scherzo-like concertos, scherzo as single movements in larger forms, and scherzo as independent works. My first recital will consist of two concertos with a scherzo-like character. These are Mozart's Piano Concerto No. 9 i ?nl Major; K. 271 and Ravel's Piano Concerto in G Major. I will perform these works in December 2002 with a second piano. In addition, I will perform the Ravel with an orchestra in 2003. My second recital will consist of two parts. The fxst half presents multi-movement works with scherzo movements. The pieces are Haydn's Piano Sonata No. 3 in F Majol; Hob. WI/9, Beethoven's Piano Sonata No. 10 in G Major; Op. 14, No. 2. The second half presents independent four scherzi by Chopin. The final program will also include multi-movement works containing scherzo and independent scherzo. These are Prokofiev's Piano Sonata No. 2 in D minor, Op. 14, Grieg Lyric Pieces Op. 54, Schubert Zwei Scherzi D. 593 and Copland Scherzo humoristique; Le Chat et la Souris (The Cat and the Mouse).

CONSERVATIVE AND PROGFESSIVE ASPECTS OF THE SONATA FROM LATE BEETHOVEN TO PROKOFIEV

The term 'sonata' arose in the early seventeenth-century Baroque period and was originally used to distinguish instrumental (sonata) music from vocal music. Later. the sonata style, as a reliable yet flexible compositional framework, was extensively shaped and utilized throughout the Classical period. Subsequently, in the Romantic period, freer creative, individualistic. and expressive musical elements began to be preferred by composers in their use of harmonj., tone color, form, and rhythm. However, even during the revolutionary Romantic period in music. the compositions which did not have a pre-defined format (character pieces, etc) were often comfortably framed and limited within the recognizable boundaries provided by the Classical sonata style. The sonata format, when used as a tool in musical composition, provides logical boundaries that may serve to organize any unexpected emotional expressions on the part of the composer. Yet the sonata framework is also flexible enough to allow freedom of expression. In the Romantic period and beyond, composers had relied, some more than others, upon the sonata's adaptable blend of stability and flexibility. In my opinion, it is more persuasive to express oneself musically within the framework of an established musical style. Thus, I have chosen my dissertation topic as the performance of six pieces incorporating elements of the reliable and flexible sonata style. The sonata of each composer that I have selected clearly demonstrates a tension between logic and emotion expressed within the sonata framework. However, the compositions can be divided interestingly into two groups, such as 'conservative' and 'progressive' group. The 'conservative' group consists of composers who seemed to strive for greater freedom of self-expression within the constraints of the traditional sonata form. On the other hand, the 'progressive' group consists of composers who seemed more to rely upon the sonata form to rein in and add stability to their highly individual and emotional musical ideas. It is my hope that this project will provide a stimulating viewpoint from which to consider the evolution and utilization of the sonata style especially as it is applied to the composition and performance of these six diverse and interesting pieces.

VERSATILITY IN THE MODERN PERFORMER: THREE DIVERSE OPERA ROLES

This dissertation project consisted of performances of three diverse operatic roles. The goal was to examine the challenges and benefits of performing diverse repertoire (baroque, classical, and romantic opera, in this case) and to observe how vocal and acting techniques might adjust to different styles and voice classifications. On December 3, 5, 11, and 13,2003, I performed a composite role in Fatal Song, directed by Leon Major, in the Robert & Arlene Kogod Theatre. This opera pastiche, premiered in 1996, contains spoken dialogue, and the music originates from famous eighteenth and nineteenth-century operas. I explored the challenges and benefits of playing three different, well-known opera characters within the same opera, performing four different languages within the same opera, and performing spoken dialogue in an opera. My roles in this pastiche of famous opera included Lucia from Lucia di Lammermoor by Gaetano Donizetti, Manon from Manon by Jules Massenet, and Pamina from Die ZauberJlote by W.A. Mozart. On January 28 and 29, 2005, I performed the role of Nice in Eurilla e Alcindo, a serenata by Antonio Vivaldi, in Homer Ulrich Recital Hall; musical direction by Joseph Gascho and stage direction by Kate Vetter Cain. I explored the challenges and benefits of preparing baroque ornamentation, singing without a conductor, performing an unknown work, staging a work that is not traditionally staged, singing with minimal sets and costumes, and singing with period instruments. On April 16,20, and 24,2005, I performed the role of Musetta in Giacomo Puccini's La BohBme, directed by Pat Diamond and conducted by Jeffrey Rink, in the Ina & Jack Kay Theatre. I examined the challenges and benefits of singing with a large orchestra of modem instruments, singing Puccini rubato and coordinating this with the conductor, and singing a role in one of the most well-known operas in today's repertoire. As a result of this investigation, I concluded that singing different styles, and singing outside one's voice classification, within reason, is beneficial. The knowledge, skill, confidence and insight I acquired by becoming more versatile benefited me as a performer and as a teacher.