Diagnóstico y cuadernillos de diseño de los oficios de cestería y talla en madera, macramé y tejeduría en lana de Duitama y Tópaga.

67 hojas : ilustraciones, fotografías a color.

Actividades de capacitación de artesanos del municipio de Yopal - Casanare. (Bogotá, 2006).

Documento de seis fotografías a color.

C 181 INST-D 2013. 362 Muestras surtida de chinchorros tejidos en hilos de algodón y combinación de colores vivos (Casanare)

31 fotografías a color.

C 223 Artesana mostrando su proceso de trabajo de talla en madera. (Casanare)

7 fotografías a color.

C 225 INST-D 2013. 386 Talleres de carpintería con sus dotaciones de equipos y herramientas tradicionales y modernas.

30 fotografías a color

C 227 INST-D 2013. 389 Productos en madera calados y tallados en alto relieve.

8 fotografías a color.

C 228 INST-D 2013. 390 Juguetes y productos decorativos elaborados en madera tallada y torneada.

14 fotografías, trece a color.

C 230 INST-D 2013. 392 Productos de menaje de cocina y comedor elaborados en madera tallada y torneada.

24 fotografías, dieciocho a color.

C 234 INST-D 2013. 396 Productos en totumo y calabazo del Casanare decorados con figuras labradas, pirograbadas y pintadas

26 fotografías a color (los archivos digitales de algunas fotografías presentan bajo nivel de pixelaje).

C 232 INST-D 2013. 394 Tallas zoomorfas de productos decorativos elaborados en madera de diversos tipos.

Documento de 76 fotografías, setenta y una a color.

Nanostructured ferroelectric materials

Nanostructured materials are central to the evolution of future electronics and information technologies. Ferroelectrics have already been established as a dominant branch in the electronics sector because of their diverse application range such as ferroelectric memories, ferroelectric tunnel junctions, etc. The on-going dimensional downscaling of materials to allow packing of increased numbers of components onto integrated circuits provides the momentum for the evolution of nanostructured ferroelectric materials and devices. Nanoscaling of ferroelectric materials can result in a modification of their functionality, such as phase transition temperature or Curie temperature (TC), domain dynamics, dielectric constant, coercive field, spontaneous polarisation and piezoelectric response. Furthermore, nanoscaling can be used to form high density arrays of monodomain ferroelectric nanostructures, which is desirable for the miniaturisation of memory devices. This thesis details the use of various types of nanostructuring approaches to fabricate arrays of ferroelectric nanostructures, particularly non-oxide based systems. The introductory chapter reviews some exemplary research breakthroughs in the synthesis, characterisation and applications of nanoscale ferroelectric materials over the last decade, with priority given to novel synthetic strategies. Chapter 2 provides an overview of the experimental methods and characterisation tools used to produce and probe the properties of nanostructured antimony sulphide (Sb2S3), antimony sulpho iodide (SbSI) and lead titanate zirconate (PZT). In particular, Chapter 2 details the general principles of piezoresponse microscopy (PFM). Chapter 3 highlights the fabrication of arrays of Sb2S3 nanowires with variable diameters using newly developed solventless template-based approach. A detailed account of domain imaging and polarisation switching of these nanowire arrays is also provided. Chapter 4 details the preparation of vertically aligned arrays of SbSI nanorods and nanowires using a surface-roughness assisted vapour-phase deposition method. The qualitative and quantitative nanoscale ferroelectric properties of these nanostructures are also discussed. Chapter 5 highlights the fabrication of highly ordered arrays of PZT nanodots using block copolymer self-assembled templates and their ferroelectric characterisation using PFM. Chapter 6 summarises the conclusions drawn from the results reported in chapters 3, 4 and 5 and the future work.

Chemical vapour deposition of complex ferroic oxide thin films

Herein is presented a novel chemical vapour deposition (CVD) route for the fabrication of oxide ferroelectrics. A versatile layer-by-layer growth mode was developed to prepare naturally super-latticed bismuth based materials belonging to the Aurivillius phase family, with which good control over composition and crystal structure was achieved. In chapter 3, the effect of epitaxial strain on one of the very simple oxide materials TiO2 was studied. It has been found that the ultra-thin TiO2 films demonstrate ferroelectric behaviour when grown on NdGaO3 substrates. TiO2 exists in various crystal phases, but none of them show ferroelectric behaviour. The epitaxial strain due to the substrate, changes the crystal structure from tetragonal to orthorhombic which in turn leads to ferroelectric behaviour. In chapter 4, a unique growth method for multiferroic BiFeO3 (BFO) thin films is shown, where a phase pure BFO thin films can be prepared even in the presence of excess bismuth precursor during the growth process. This type of growth is usually called adsorption controlled growth and can be used for growing various bismuth containing compounds, where the volatility of bismuth can create various types of defects. Chapter 5 describes the growth of Bi4Ti3O12 thin films in a layer-by-layer growth mode. In this section, the effect of Bi and Ti precursor flows on the growth of thin films is discussed and it is shown that how change in precursor flows leads to out-ofphase boundary defects during the layer-by-layer growth mode. In chapter 6, the growth of a compound Bi5Ti3FeO15, which is a 1:1 mixture of BiFeO3 and Bi4Ti3O12, is presented. The growth mechanism of Bi5Ti3FeO15 thin films is presented, where the Fe precursor flow was controlled from zero to the insertion of one full BiFeO3 perovskite unit cell into the Bi4Ti3O12 structure in addition, the effect of iron precursor flow on crystalline properties is demonstrated. The methods presented in this thesis can be adopted to grow ferroelectric and multiferroic films for industrial applications.

PIANO AS A PARTNER IN TWENTIETH­ CENTURY ART SONG REPERTOIRE: A RECORDING PROJECT

The piano's role in art song repertoire has evolved from a modest one during its formative years to the versatility, complexity and creativity found in the twentieth-century. The art song repertoire of the twentieth century is vast and has secured the reputation for being the most diverse, innovative, illustrative, atmospheric and colorful in all of art song literature. Within this time period, there are compositions that reach back to the romantic works of nineteenth century, others which combine old and new traditions, and finally those which adopt new means and new ends. In choosing the material for this project, I have focused on compositions with uniquely challenging and unusual piano accompaniments in order to achieve a balance between well- known and rarely performed works, as well as those pieces that combine various languages and styles. Selections range from Claude Debussy, Richard Strauss, Sergey Rachmaninoff, Ralph Vaughan Williams, Roger Quilter, Francis Poulenc, Fernando Obradors, and Joaquin Rodrigo to composers such as Samuel Barber, Marc Blitzstein, Dominick Argento, William Bolcom, and John Duke, including arrangements of traditional spirituals by Harry T. Burleigh and Florence B. Price, all of which helped to establish the American Art Song. My objective is to trace the development of the twentieth-century art song from the late Romantic Period through nationalistitrends to works which show the influences of jazz and folk elements. The two CD's for this dissertation recording project are available on compact discs which can be found in the Digital Repository at the University of Maryland (DRUM). The performers were Daniel Armstrong, baritone, Giles Herman, baritone, Thomas Glenn, tenor, Valerie Yinzant, soprano, Aaron Odom, tenor, Jennifer Royal, soprano, Kenneth Harmon, tenor, Karen Sorenson, soprano and Maxim Ivanov, baritone.

RECORDING PROJECT: THE COMPLETE (PUBLISHED) PIANO WORKS OF ROBERT HELPS

This recording represents the complete solo piano works of Robert Helps (1928-2001). As of this writing (March, 2008), approx.120 minutes of Helps' solo piano music has been published, all of which is included on the Digital Media (CD). This project includes the following works: Trois Hommages, Quartet, Nocturne, Valse Mirage, In Retrospect, Three Etudes, Portrait, Three Etudes for the Left Hand, Starscape, Recollections, Shall We Dance and Image. (His few remaining pieces are officially "pending publication" and are therefore not included in this project.) Robert Helps, American pianist and composer, enjoyed a successful career on both fronts, teaching at such institutions as San Francisco Conservatory, Stanford University, the University of California, Berkeley, the New England Conservatory, the Manhattan School of Music and Princeton University. Helps, never the recipient of a university or conservatory degree, received private instruction from pianist Abby Whiteside and composer Roger Sessions. His recording of the Sessions' Sonatas is considered to be their benchmark performance. As a composer, he received commission and awards from the American Academy of Arts and Letters, the Ford Foundation, the Guggenheim Foundation and the National Endowment for the Arts. Helps' compositions were anachronistic in style: his compositional style ranges from Post-Impressionism, Neo­ Romanticsim and early 20th century Atonalism, although he never engaged in serial practices. Since his death in 2001, the Robert Helps Trust has been established at the University of South Florida. Funds are being used to support the continued publishing of his scores. The Robert Helps International Composition Competition and Festival was established in 2005.

SELECTED REPERTOIRE OF THE GILLET COMPETITION FROM 1996 TO 2006

There are many bassoon competitions around the world- and one of the most famous is the Gillet competition, sponsored by the International Double Reed Society. In 1981, it was established as an annual event, the "Femand Gillet Bassoon Competition"- a title expanded in 2000 to the "Femand Gillet-Hugo Fox Bassoon Competition." My goal was to explore the history of the competition, the availability of the repertoire selected for each competition, and the difficulties performing each piece. Through this journey, I was able to discover the variety of material chosen and how it was used, the quality, value, and the importance of the repertoire in each competition. For example, Ferdinand David's Concertino op.12, the style of the piece provides romantic, operatic type lyricism, a flashy presto section and finale, makes it as a standard romantic piece in the bassoon repertoire; Otmar Nussio's Variations on an Air by Pergolesi, contains a slow theme and few diverse variations, which provides a contemporary style music with the traditional music form and descriptive quality. The result of learning this repertoire proves that different styles of music in the competition demonstrate the artistry of the bassoon repertoire and music history in relationship of the development of the instrument. My first dissertation recital featured: Concerto for Bassoon, K. 191 by Wolfgang Amadeus Mozart; Concertino by Marcel Bitsch; Metamorphoses by Leslie Bassett; and Sonatine by Alexandre Tansman. My second recital featured: Concerto in E minor, RV 484 by Antonio Vivaldi; On the Summer Map of Stars by Gordon Kerry; Concertino Opus12 by Ferdinand David; Elegie by Jacques Hetu; and Interferences by Roger Boutry. My third recital featured: Cello Suite No.2 in D minor, BWV1008 by Johann Sebastian Bach; Combinaciones: Sonatina para Fagot y Piano by Salvador Ranieri; Andante e Rondo Ungarese Opus 35 by Carl Maria von Weber; and Variations on an Air by Pergolesi for Bassoon and Piano by Otmar Nussio.