Among the Indians of Alaska. By Charles Replogle ...

http://www.archive.org/details/amongindiansofal00repliala

The life of Father de Smet, S.J. (1801-1873) by E. Laveille, S.J., authorized translation by Marian Lindsay, introduction by Charles Coppens ...

http://www.archive.org/details/lifeoffatherdesm00laverich

Father Pollock and his brother : mission priests of St. Alban's, Birmingham / with a letter from Charles Gore.

http://anglicanhistory.org/bios/pollock/ View document online

An American missionary : a record of the work of Rev. William H. Judge, S.J. / by Charles J. Judge ; introduction by His Eminence, Cardinal Gibbons.

http://www.archive.org/details/anamericanmissio00judguoft

History of Christian missions / by Charles Henry Robinson

http://www.archive.org/details/historyofchristi003076mbp

Acoustic behaviour, ecology and social structure of bottlenose dolphins (Tursiops truncatus, Montagu 1821) in the North Atlantic

Communication is important for social and other behavioural interactions in most marine mammal species. The bottlenose dolphin (Tursiops truncatus, Montagu, 1821) is a highly social species that use whistles as communication calls to express identity and to initiate and maintain contact between socially interactive individuals. In this thesis, the degree of variability in whistle behaviour and whistle characteristics was examined between different habitats on a range of spatial scales. The whistle characteristics that best discriminated between different communities were investigated, along with exploration of whistle variation in relation to habitat type, levels of social interaction and relatedness. Finally, the use and variability of individually distinctive calls (signature whistles) within and between Irish and US waters were also examined. Relatively high levels of whistle variation were found within a genetically and socially isolated population of dolphins in the Shannon Estuary, reflecting the need for individual identification and distinctive whistles in a population with long term site fidelity and high levels of social cohesion. Variation between reproductively separate communities in Irish waters was relatively small except between animals in inshore compared with continental shelf waters. The greatest differences in whistle structure overall were evident between dolphins using inshore and offshore US waters, likely reflecting social isolation of the two distinct ecotypes that occur in these waters but also variation in behaviour or habitat conditions. Variation found among inshore communities in US waters reflected similarities in habitat use and levels of social interaction. These findings suggest that vocal variation is socially mediated, behaviourally maintained and dependent on levels of social contact between individuals. The findings contribute to our understanding of the interaction of factors influencing vocalisation behaviour in this behaviourally complex and ecologically plastic species.

Additions à la bibliographie de Charles Porset sur les sciences du langage de Port-Royal aux Idéologues (1660-1818)

info:eu-repo/semantics/published

Accelerating self-consistent field convergence with the augmented Roothaan-Hall energy function.

Based on Pulay's direct inversion iterative subspace (DIIS) approach, we present a method to accelerate self-consistent field (SCF) convergence. In this method, the quadratic augmented Roothaan-Hall (ARH) energy function, proposed recently by Høst and co-workers [J. Chem. Phys. 129, 124106 (2008)], is used as the object of minimization for obtaining the linear coefficients of Fock matrices within DIIS. This differs from the traditional DIIS of Pulay, which uses an object function derived from the commutator of the density and Fock matrices. Our results show that the present algorithm, abbreviated ADIIS, is more robust and efficient than the energy-DIIS (EDIIS) approach. In particular, several examples demonstrate that the combination of ADIIS and DIIS ("ADIIS+DIIS") is highly reliable and efficient in accelerating SCF convergence.

Archaeological Testing at 10 Francis Street, Annapolis, Maryland, 18AP55

In August 1990, archaeological investigations were permitted at 10 Francis Street (18AP55). The house on this property dates to the early eighteenth century and the property has had little disturbance since that time. Excavation here has provided an excellent opportunity to learn more about this period of Annapolis' history. Two units were excavated and are described fully within this report. One unit, placed next to the house foundation, revealed an eighteenth-century brick sidewalk beneath the current mid-nineteenth-century brick sidewalk, but it did not contain any builder's trench for the structure. A second unit, randomly place in the back yard, revealed intact stratigraphy dating back to the early eighteenth century. These findings demonstrate the integrity of this site and its potential for future investigation. Any alterations to this property should proceed only after further controlled excavations have taken place.

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.

THE LESSER-KNOWN PIANO CHAMBER MUSIC OF CAMILLE SAINT-SAENS: A RECORDING PROJECT

Throughout his long and industrious lifetime, Camille Saint-Saens (1835-1921) devoted himself unconditionally to music both as a composer and a performer. Saint-Saens was a self-described traditionalist and musical purist, yet his works are distinctly expressive and imaginative, and they reflect the composer's own unique musical language which incorporates recognizably modem traits such as chromaticism and frequent modulation. As a performer, Saint-Saens preferred to premiere his own works and often included his chamber music in his concert programs. Regarded primarily as a symphonic composer in the present day, however, his extensive and varied collection of chamber music works is sadly neglected. Six varied small-ensemble works with piano from his chamber music repertoire have been selected for study and recording for this project: Piano Trio No. 1 in F Major, Op. 18 (1864); Sonata for Cello and Piano No. 1 inC Minor, Op. 32 (1872); two pieces for two pianos, Le Rouet d'Omphale (The Spinning Wheel ofOmphale), Op. 31 (1871) and Phaeton, Op. 39 (1874); piano duet Konig Harald Haifagar (King Harald Haarfager), Op. 59 (1880); and a wind quartet, Caprice sur des airs Danois et Russes (Caprice on Danish and Russian Airs) for Flute, Oboe, Clarinet and Piano, Op. 79 (1887). Analyses of the forms and harmonic structures of these compositions will be included in this dissertation paper as well as studies from the viewpoint of Saint-Saens' compositional style, ensemble characteristics, and writing for the piano. The recordings for this project were made in four sessions in LeFrak Concert Hall at Queens College, the City University of New York. On September 24, 2003, Op. 31, Op. 39 and Op. 59 were recorded with Professor Morey Ritt, piano. On March 2, 2004, Op. 18 was recorded with Elena Rojas, violin, and Clare Liu, cello, and on March 15, 2004, Op. 32 was recorded, also with Ms. Liu. The Caprice, Op. 79 was recorded on June 27, 2008 with Laura Conwesser, flute; Randall Wolfgang, oboe; and Steve Hartman, clarinet. The recordings may be found on file in the library at the University of Maryland, College Park.

SELECTED AMERICAN VIOLIN WORKS AND THEIR EUROPEAN CONTEXT

For my dissertation, I did a study and performance of American violin works by Charles Ives, Aaron Copland, Leonard Bernstein, and John Corigliano, along with contemporaneous European works by Paul Hindemith, Bela Bartok, Igor Stravinsky, Sergei Prokofiev, and Francis Poulenc. The selected American violin works display the development of a distinctively American style and cover a significant formative period (1914-1963) of American classical music. I intend that the European works form a backdrop for setting in relief any distinctly American qualities possessed by the American works. This is because they cover a similar time period and have significant stylistic affinities and shared influences. My topic stems from a question, "What defines the American Sound?" I attempted to find the answer by looking at the time when American composers consciously searched for their identities, and declared their music to be distinctly American. I found that those distinctive qualities stemmed from three sources: folk music, jazz and hymns. Ives and Copland can be viewed as American in content for their inclusion of such elements, while Bernstein and Corigliano can also be considered as "ideologically American" for their adventurous and eclectic spirit. The simplicity derived from singing a hymn or crooning a popular song; the freedom inspired by jazz; the optimism of accepting all possibilities-these elements inform the common spirit that I found in the music of these four American composers. FIRST RECITAL Sonatafor Violin Solo Op.3112 (1924), Paul Hindemith (1895-1963) Suite Italiennefor Violin and Piano (1932), Igor Stravinsky (1882-1971) Sonatafor Violin and Piano (1963), John Corigliano (b.1938) SECOND RECITAL Second Sonatafor Violin and Piano (1914-17), Charles Ives (1874-1954) First Rhapsody for Violin and Piano (1928), Bela Bart6k (1881-1971) Violin Sonata No.1 infminor (1938-46), Sergei Prokofiev (1891-1953) THIRD RECITAL Nocturne for Violin and Piano (1926), Aaron Copland (1900-1990)Sonata for Violin and Piano, Op. 119 (1942-3, rev.1949), Francis Poulenc (1899-1963)Serenade (after Plato's "Symposium'') (1954) by Leonard Bernstein (1918-1990) The pianists were Sun Ha Yoon (Bart6k) and Grace Eunae Cho (all other repertoire).

SELECTED TWENTIETH-CENTURY BRITISH & AMERICAN ENGLISH SONG REPERTOIRE WRITTEN FOR SOPRANO

English language song (both British and American) is influenced by a variety of cultures, races, and musical forms and has produced a broad range of song repertoire. Like songs in all countries and throughout history, these songs can be classified into three categories: imitative songs, experimental songs, and songs of individuality. Music experimentation, necessary and welcome as it is, can hardly command broad international attention. Thus, the songs of this dissertation performance project are chosen from the first and third categories: imitative songs and individual songs in the composer's own unique style. This project concentrates its exploration on twentieth-century solo songs written in English. Although twentieth-century British & American composers also produced solos and chamber music in other languages, this dissertation focuses upon their English repertoire. This performance project consists of three programs: one British repertoire and two American. The first program titled An Evening of British Song examines twentieth-century British song written by Roger Quilter, Peter Warlock, William Walton, Benjamin Britten, Thomas F. Dunhill, Ivor Gurney, and Frank Bridge. It was presented on December 12, 2001, in Homer Ulrich Recital Hall with the collaborative pianist Meriel Owen. The second program titled An Evening of American Song I comprises music written by Dominick Argento, Samuel Barber, Ned Rorem, Leonard Bernstein, and Lee Hoiby. It was presented on October 23, 2002, in Joseph & Alma Gildenhorn Recital Hall with the collaborative pianist R. Timothy McReynolds. The third program titled An Evening of American Song II written by John Duke, John Corigliano, Charles Ives, Richard Hundley, Lori Laitman, Frederick Loewe, George Gershwin, and Jerome Kern was presented on December 18, 2003, again in Joseph & Alma Gildenhorn Recital Hall with the collaborative pianist R. Timothy McReynolds and the flutist Jessica Dunnavant. Each of these three dissertation recitals occurred at the University of Maryland in College Park and was recorded. These CD recordings are held by the Michelle Smith Performing Arts Library at the University of Maryland.