EXTENDED-RANGE OBOE: THE IMPACT OF TECHNICAL AND MUSICAL ADVANCEMENTS IN 19th-CENTURY AND CONTEMPORARY OBOE REPERTOIRE

I believe that the purpose of expanding the oboe’s repertoire is to not only create original compositions, but to also utilize technical advancements in order to achieve access to a wider range of repertoire through the art of transcription. This paper examines the various paths to achieving such expansion, including utilizing unique performer skills, use of auxiliary instruments, advancements in the instrument itself and musical developments that challenge the perception of the oboe’s solo role in a particular era of music history. The oboe need not be relegated to the confines of a compositionally limited stereotype. The goal of my “extended-range” dissertation project is to expand the “range” of programmable repertoire, with a focus on music in both the 19th and 21st-centuries, while simultaneously expanding the technical capabilities and expectations of the modern oboe—in part by exploiting the new possibilities of the recently invented low-A extension key.

TROMBONE MUSIC OF SCANDINAVIA: A STUDY OF TROMBONE SOLO AND CHAMBER WORKS FROM SWEDEN, NORWAY, AND DENMARK

This dissertation project aims to establish Scandinavian trombone solo and chamber works as a major contribution to the trombone repertoire. From the late 19th century to modern day, Scandinavian composers have produced a steady output of trombone works of substantial musical quality. Deep-rooted in the traditions of strong military wind bands, Scandinavia has also produced an unusual number of trombone virtuosos, ranging from those holding positions in leading orchestras, and internationally renowned pedagogues, to trombonists enjoying careers as soloists. In this study I propose that it is the symbiotic relationship between strong performers and traditionally nationalist composers that created the fertile environment for the large number of popular trombone solo and chamber repertoire not seen in any other region besides the Paris Conservatory and its infamous test pieces. I also interpret the selected repertoire through the prism of nationalism and influence of folk music, and convey that the allure of the mystic Nordic folk influences enhances the appeal of the Scandinavian trombone repertoire to world-wide audiences and performers. The dissertation project was realized over three solo recitals, each showcasing the music of Sweden, Norway, and Denmark respectively. For each program, I looked to choose a standard work from the trombone solo repertoire, a work written for or by a native virtuoso, and a lesser-known work that warrants the attention of other performers for its musical qualities. The recital of Swedish music presented Mandrake in the Corner by Christian Lindberg, Subadobe by Frederik Högberg, A Christian Song by Jan Sandström, and Concertino for trombone and strings by Lars-Erik Larsson. The recital of Norwegian music presented Concerto for Trombone op. 76 by Egil Hovland, Ordner Seg by Øystein Baadsvik, Elegi by Magne Amdahl, and Concerto in F major by Ole Olsen. The recital of Danish music presented Rapsodia Borealis by Søren Hyldgaard, Madrigal by Bo Gunge, Romance for trombone and piano by Axel Jørgensen, Concerto for trombone by Launy Grøndahl, and Three Swedish Tunes by Mogens Andresen. Through the performance of works from these three countries, the dissertation establishes Scandinavia as a rich source of solo trombone repertoire perpetuated by nationalist composers and virtuosos, as well as providing a brief survey of Scandinavian trombone works of various instrumentation and difficulty levels to be enjoyed by student, professional, and amateur performers and their audience.

VIOLA MUSIC FROM THE AMERICAS: MUSIC FROM CANADA, UNITED STATES, CUBA, VENEZUELA, MEXICO, AND BRAZIL

The enthusiasm towards writing music for the viola that flourished in the early 1900’s thanks to the efforts of a number of twentieth-century violists and composers rapidly spilled over to North and South America. Viola works by American and Canadian composers have already become cornerstones of the viola repertoire worldwide. On the other hand, compositions from other parts of the American continent remain lesser known outside of their country of origin. This is due in part to the less developed publishing and recording industry in these countries which makes it difficult for performers and programmers from other countries to buy or rent performing materials. As a violist born and trained in Venezuela, performing works by important Latin American composers to new audiences is deeply important to me. This dissertation was completed by performing selected works by Canadian, American, Cuban, Mexican, Brazilian, and Venezuelan composers. Composers from these countries have mixed their rich musical traditions with modern compositional techniques, creating original works that have greatly enriched the viola repertoire. This eclectic mixture of styles makes the music from Latin American composers not only very different from that of American and Canadian composers, but also very different from those of their neighboring countries. Through my three dissertation recitals, I intend to share this music with new audiences and inspire other violists to become familiar with this repertoire. The first recital includes compositions by American composers George Rochberg (1918-2015), Elliott Carter (1908-2012), and Alan Shulman (1915-2002) and Canadian composer Elizabeth Raum (b. 1945). The second recital includes works by Cuban composers Cesar Orozco (b. 1980), and Keyla Orozco (b. 1969), Venezuelan composers Aldemaro Romero (1928-2007) and Modesta Bor (1926-1998), and Venezuelan-Uruguayan composer Efrain Oscher (b. 1974). The third recital includes works by Mexican composers Carlos Chavez (1899-1978), José Pablo Moncayo (1912-1958) and Manuel M Ponce (1882-1948), and Brazilian composers Francisco Mignone (1897-1986) and Brenno Blauth (1931-1993). This music represents a bouquet of a distinctive mixture of styles from different parts of the American continent. Recordings of all three recitals can be accessed at the University of Maryland Hornabake Library.

Nietzsche's orphans: music and the search for unity in revolutionary Russia, 1905-1921

At the dawn of the twentieth century, Imperial Russia was in the throes of immense social, political and cultural upheaval. The effects of rapid industrialization, rising capitalism and urbanization, as well as the trauma wrought by revolution and war, reverberated through all levels of society and every cultural sphere. In the aftermath of the 1905 revolution, amid a growing sense of panic over the chaos and divisions emerging in modern life, a portion of Russian educated society (obshchestvennost’) looked to the transformative and unifying power of music as a means of salvation from the personal, social and intellectual divisions of the contemporary world. Transcending professional divisions, these “orphans of Nietzsche” comprised a distinct aesthetic group within educated Russian society. While lacking a common political, religious or national outlook, these philosophers, poets, musicians and other educated members of the upper and middle strata were bound together by their shared image of music’s unifying power, itself built upon a synthesis of Russian and European ideas. They yearned for a “musical Orpheus,” a composer capable of restoring wholeness to society through his music. My dissertation is a study in what I call “musical metaphysics,” an examination of the creation, development, crisis and ultimate failure of this Orphic worldview. To begin, I examine the institutional foundations of musical life in late Imperial Russia, as well as the explosion of cultural life in the aftermath of the 1905 Revolution, a vibrant social context which nourished the formation of musical metaphysics. From here, I assess the intellectual basis upon which musical metaphysics rested: central concepts (music, life-transformation, theurgy, unity, genius, nation), as well as the philosophical heritage of Nietzsche and the Christian thinkers Vladimir Solov’ev, Aleksei Khomiakov, Ivan Kireevskii and Lev Tolstoi. Nietzsche’s orphans’ struggle to reconcile an amoral view of reality with a deeply felt sense of religious purpose gave rise to neo-Slavophile interpretations of history, in which the Russian nation (narod) was singled out as the savior of humanity from the materialism of modern life. This nationalizing tendency existed uneasily within the framework of the multi-ethnic empire. From broad social and cultural trends, I turn to detailed analysis of three of Moscow’s most admired contemporary composers, whose individual creative voices intersected with broader social concerns. The music of Aleksandr Scriabin (1871-1915) was associated with images of universal historical progress. Nikolai Medtner (1879-1951) embodied an “Imperial” worldview, in which musical style was imbued with an eternal significance which transcended the divisions of nation. The compositions of Sergei Rachmaninoff (1873-1943) were seen as the expression of a Russian “national” voice. Heightened nationalist sentiment and the impact of the Great War spelled the doom of this musical worldview. Music became an increasingly nationalized sphere within which earlier, Imperial definitions of belonging grew ever more problematic. As the Germanic heritage upon which their vision was partially based came under attack, Nietzsche’s orphans found themselves ever more divided and alienated from society as a whole. Music’s inability to physically transform the world ultimately came to symbolize the failure of Russia’s educated strata to effectively deal with the pressures of a modernizing society. In the aftermath of the 1917 revolutions, music was transformed from a symbol of active, unifying power into a space of memory, a means of commemorating, reinterpreting, and idealizing the lost world of Imperial Russia itself.

Contrasts: Quartets and Art Songs of the Nineteenth Century

The nineteenth-century Romantic era saw the development and expansion of many vocal and instrumental forms that had originated in the Classical era. In particular, the German lied and French mélodie matured as art forms, and they found a kind of equilibrium between piano and vocal lines. Similarly, the nineteenth-century piano quartet came into its own as a form of true chamber music in which all instruments participated equally in the texture. Composers such as Robert Schumann, Johannes Brahms, and Gabriel Fauré offer particularly successful examples of both art song and piano quartets that represent these genres at their highest level of artistic complexity. Their works have become the cornerstones of the modern collaborative pianist’s repertoire. My dissertation explored both the art songs and the piano quartets of these three composers and studied the different skills needed by a pianist performing both types of works. This project included the following art song cycles: Robert Schumann’s Dichterliebe, Gabriel Fauré’s Poème d’un Jour, and Johannes Brahms’ Zigeunerlieder. I also performed Schumann’s Piano Quartet in E-flat Major, Op. 47, Fauré’s Piano Quartet in C minor, Op. 15, and Brahms’ Piano Quartet in G minor, Op. 25. My collaborators included: Zachariah Matteson, violin and viola; Kristin Bakkegard, violin; Molly Jones, cello; Geoffrey Manyin, cello; Karl Mitze, viola; Emily Riggs, soprano, and Matthew Hill, tenor. This repertoire was presented over the course of three recitals on February 13, 2015, December 11, 2015, March 25, 2016 at the University of Maryland’s Gildenhorn Recital Hall. These recitals can be found in the Digital Repository at the University of Maryland (DRUM).

Exploring Armenian keyboard music : roots to modern times

The extended program notes include historical facts of the composers and characteristics of the pieces being performed. The thesis also includes information about Armenian composers starting from 18th to the 20th century, composition's historical background, brief biographies of the composers as well as analysis of form and structure. The graduate piano recital comprised the following compositions: Sayat Nova - R. Andriasian Yes Mi Kharib Blbuli Pes; Komitas - R. Andriasian Garun a, Shoker Jan, Dzirani Dzar, Gakavik; A. Khachaturyan Poem; A. Babadjanyan Elegy in Commemoration of A. Khachaturyan; E. Bagdasarian Humoresque, Prelude in D Minor, Prelude in B Minor; A. Babadjanyan Improvisation and Traditional from six Pictures; A. Babadjanyan Prelude and Vagarshapat Dance; A. Arutyunian Dance of Sasoon; A. Arutyunian - A. Babadjanyan Armenian Rhapsody for Two Pianos.

As artes marciais chinesas para pessoas com deficiência : contextos, dilemas e possibilidades = Chinese martial arts for people with disabilities : contexts, dilemmas and possibilities

Universidade Estadual de Campinas . Faculdade de Educação Física

A century of research: what have we learned about the interaction of Trypanosoma cruzi with host cells?

Since the discovery of Trypanosoma cruzi and the brilliant description of the then-referred to "new tripanosomiasis" by Carlos Chagas 100 years ago, a great deal of scientific effort and curiosity has been devoted to understanding how this parasite invades and colonises mammalian host cells. This is a key step in the survival of the parasite within the vertebrate host, and although much has been learned over this century, differences in strains or isolates used by different laboratories may have led to conclusions that are not as universal as originally interpreted. Molecular genotyping of the CL-Brener clone confirmed a genetic heterogeneity in the parasite that had been detected previously by other techniques, including zymodeme or schizodeme (kDNA) analysis. T. cruzi can be grouped into at least two major phylogenetic lineages: T. cruzi I, mostly associated with the sylvatic cycle and T. cruzi II, linked to human disease; however, a third lineage, T. cruziIII, has also been proposed. Hybrid isolates, such as the CL-Brener clone, which was chosen for sequencing the genome of the parasite (Elias et al. 2005, El Sayed et al. 2005a), have also been identified. The parasite must be able to invade cells in the mammalian host, and many studies have implicated the flagellated trypomastigotes as the main actor in this process. Several surface components of parasites and some of the host cell receptors with which they interact have been described. Herein, we have attempted to identify milestones in the history of understanding T. cruzi- host cell interactions. Different infective forms of T. cruzi have displayed unexpected requirements for the parasite to attach to the host cell, enter it, and translocate between the parasitophorous vacuole to its final cytoplasmic destination. It is noteworthy that some of the mechanisms originally proposed to be broad in function turned out not to be universal, and multiple interactions involving different repertoires of molecules seem to act in concert to give rise to a rather complex interplay of signalling cascades involving both parasite and cellular components.

Status of Early 19th-Century Names Authored in Parallel by Wied and Schinz for South American Reptiles and Amphibians, with Designations of Three Nomina Protecta

Prince Maximilian zu Wied's great exploration of coastal Brazil in 1815-1817 resulted in important collections of reptiles, amphibians, birds, and mammals, many of which were new species later described by Wied himself The bulk of his collection was purchased for the American Museum of Natural History in 1869, although many ""type specimens"" had disappeared earlier. Wied carefully identified his localities but did not designate type specimens or type localities, which are taxonomic concepts that were not yet established. Information and manuscript names on a fraction (17 species) of his Brazilian reptiles and amphibians were transmitted by Wied to Prof. Heinrich Rudolf Schinz at the University of Zurich. Schinz included these species (credited to their discoverer ""Princ. Max."") in the second volume of Das Thierreich ... (1822). Most are junior objective synonyms of names published by Wied. However, six of the 17 names used by Schinz predate Wied's own publications. Three were manuscript names never published by Wied because he determined the species to be previously known. (1) Lacerta vittata Schinz, 1822 (a nomen oblitum) = Lacerta striata sensu Wied (a misidentification, non Linnaeus nec sensu Merrem) = Kentropyx calcarata Spix, 1825, herein qualified as a nomen protectum. (2) Polychrus virescens Schinz, 1822 = Lacerta marmorata Linnaeus, 1758 (now Polychrus marmoratus). (3) Scincus cyanurus Schinz, 1822 (a nomen oblitum) = Gymnophthalmus quadrilineatus sensu Wied (a misidentification, non Linnaeus nec sensu Merrem) = Micrablepharus maximiliani (Reinhardt and Lutken, ""1861"" [1862]), herein qualified as a nomen protectum. Qualifying Scincus cyanurus Schinz, 1822, as a nomen oblitum also removes the problem of homonymy with the later-named Pacific skink Scincus cyanurus Lesson (= Emoia cyanura). The remaining three names used by Schinz are senior objective synonyms that take priority over Wied's names. (4) Bufo cinctus Schinz, 1822, is senior to Bufo cinctus Wied, 1823; both, however, are junior synonyms of Bufo crucifer Wied, 1821 = Chaunus crucifer (Wied). (5) Agama picta Schinz, 1822, is senior to Agama picta Wied, 1823, requiring a change of authorship for this poorly known species, to be known as Enyalius pictus (Schinz). (6) Lacerta cyanomelas Schinz, 1822, predates Teius cyanomelas Wied, 1824 (1822-1831) both nomina oblita. Wied's illustration and description shows cyanomelas as apparently conspecific with the recently described but already well-known Cnemidophorus nativo Rocha et al., 1997, which is the valid name because of its qualification herein as a nomen protectum. The preceding specific name cyanomelas (as corrected in an errata section) is misspelled several ways in different copies of Schinz's original description (""cyanom las,"" ""cyanomlas,"" and cyanom""). Loosening, separation, and final loss of the last three letters of movable type in the printing chase probably accounts for the variant misspellings.

Characterizing chaotic melodies in automatic music composition

In this paper, we initially present an algorithm for automatic composition of melodies using chaotic dynamical systems. Afterward, we characterize chaotic music in a comprehensive way as comprising three perspectives: musical discrimination, dynamical influence on musical features, and musical perception. With respect to the first perspective, the coherence between generated chaotic melodies (continuous as well as discrete chaotic melodies) and a set of classical reference melodies is characterized by statistical descriptors and melodic measures. The significant differences among the three types of melodies are determined by discriminant analysis. Regarding the second perspective, the influence of dynamical features of chaotic attractors, e.g., Lyapunov exponent, Hurst coefficient, and correlation dimension, on melodic features is determined by canonical correlation analysis. The last perspective is related to perception of originality, complexity, and degree of melodiousness (Euler's gradus suavitatis) of chaotic and classical melodies by nonparametric statistical tests. (c) 2010 American Institute of Physics. [doi: 10.1063/1.3487516]

Simulation of Soil Carbon Dynamics under Sugarcane with the CENTURY Model

Currently there is a trend for the expansion of the area cropped with sugarcane (Saccharum officinarum L.), driven by an increase in the world demand for biofuels, due to economical, environmental, and geopolitical issues. Although sugarcane is traditionally harvested by burning dried leaves and tops, the unburned, mechanized harvest has been progressively adopted. The use of process based models is useful in understanding the effects of plant litter in soil C dynamics. The objective of this work was to use the CENTURY model in evaluating the effect of sugarcane residue management in the temporal dynamics of soil C. The approach taken in this work was to parameterize the CENTURY model for the sugarcane crop, to simulate the temporal dynamics of soil C, validating the model through field experiment data, and finally to make predictions in the long term regarding soil C. The main focus of this work was the comparison of soil C stocks between the burned and unburned litter management systems, but the effect of mineral fertilizer and organic residue applications were also evaluated. The simulations were performed with data from experiments with different durations, from 1 to 60 yr, in Goiana and Timbauba, Pernambuco, and Pradopolis, Sao Paulo, all in Brazil; and Mount Edgecombe, Kwazulu-Natal, South Africa. It was possible to simulate the temporal dynamics of soil C (R(2) = 0.89). The predictions made with the model revealed that there is, in the long term, a trend for higher soil C stocks with the unburned management. This increase is conditioned by factors such as climate, soil texture, time of adoption of the unburned system, and N fertilizer management.

Music and faith: The religious scene in the Brazilian phonographic market

This text discusses the phonographic segment of religious music in Brazil in its two main manifestations, linked respectively to the Catholic and Protestant traditions. The text offers a brief history of both traditions, as well as a description of their main recording companies and artists of greatest prominence. In its final part. the text presents the strategies that bring together recording companies and independent artists, as well as ponders over Brazil`s independent musical production as a whole.

Modeling soil organic carbon dynamics in Oxisols of Ibiruba (Brazil) with the Century Model

introduction of conservation practices in degraded agricultural land will generally recuperate soil quality, especially by increasing soil organic matter. This aspect of soil organic C (SOC) dynamics under distinct cropping and management systems can be conveniently analyzed with ecosystem models such as the Century Model. In this study, Century was used to simulate SOC stocks in farm fields of the Ibiruba region of north central Rio Grande do Sul state in Southern Brazil. The region, where soils are predominantly Oxisols, was originally covered with subtropical woodlands and grasslands. SOC dynamics was simulated with a general scenario developed with historical data on soil management and cropping systems beginning with the onset of agriculture in 1900. From 1993 to 2050, two contrasting scenarios based on no-tillage soil management were established: the status quo scenario, with crops and agricultural inputs as currently practiced in the region and the high biomass scenario with increased frequency of corn in the cropping system, resulting in about 80% higher biomass addition to soils. Century simulations were in close agreement with SOC stocks measured in 2005 in the Oxisols with finer texture surface horizon originally under woodlands. However, simulations in the Oxisols with loamy surface horizon under woodlands and in the grassland soils were not as accurate. SOC stock decreased from 44% to 50% in fields originally under woodland and from 20% to 27% in fields under grasslands with the introduction of intensive annual grain crops with intensive tillage and harrowing operations. The adoption of conservation practices in the 1980s led to a stabilization of SOC stocks followed by a partial recovery of native stocks. Simulations to 2050 indicate that maintaining status quo would allow SOC stocks to recover from 81% to 86% of the native stocks under woodland and from 80% to 91 % of the native stocks under grasslands. Adoption of a high biomass scenario would result in stocks from 75% to 95% of the original stocks under woodlands and from 89% to 102% in the grasslands by 2050. These simulations outcomes underline the importance of cropping system yielding higher biomass to further increase SOC content in these Oxisols. This application of the Century Model could reproduce general trends of SOC loss and recovery in the Oxisols of the Ibiruba region. Additional calibration and validation should be conducted before extensive usage of Century as a support tool for soil carbon sequestration projects in this and other regions can be recommended. (C) 2009 Elsevier B.V. All rights reserved.

The Effects of Live, Taped and No Music on People Experiencing Posttraumatic Amnesia

This study compared the effects of live, taped, and no music, on agitation and orientation levels of people experiencing posttraumatic amnesia (PTA). Participants (N = 22) were exposed to all 3 conditions, twice over 6 consecutive days. Songs used in the live and taped music conditions were identical and were selected based on participants' own preferred music. Pre and posttesting was conducted for each condition using the Agitated Behavior Scale (Corrigan, 1989) and the Westmead PTA Scale (Shores, Marosszeky, Sandanam, Batchelor, 1986). Participants' memory for the music used was also tested and compared with their memory for pictorial material presented in the Westmead PTA Scale. Results indicate that music significantly reduced agitation (p

Research Quality, Publications and Impact in Hydraulic Engineering into the 21st Century. Publish or Perish, Commercial versus Open Access, Internet versus Libraries

One of the main objectives of the first International Junior Researcher and Engineer Workshop on Hydraulic Structures is to provide an opportunity for young researchers and engineers to present their research. But a research project is only completed when it has been published and shared with the community. Referees and peer experts play an important role to control the research quality. While some new electronic tools provide further means to disseminate some research information, the quality and impact of the works remain linked with some thorough expert-review process and the publications in international scientific journals and books. Importantly unethical publishing standards are not acceptable and cheating is despicable.