Threatened fishes of the world: Tanichthys albonubes Lin 1932 (Cyprinidae)

The white cloud mountain minnow Tanichthys albonubes Lin is an endemic species to southern China and the genus has two species, Tanichthys albonubes Lin and Tanichthys micagemmae Freyhof et Herder. The distribution range of T. albonubes Lin and T. micagemmae is very narrow and only found in the mountain brooks of Baiyunshan Mountain (White Cloud Mountain), Huaxian Country and the vicinity of Guangzhou in Guangdong Province and Halong, Quang Ninh Province, Vietnam respectively. The wild populations of this fish had already been on the verge of extinction when Shu-Yan Lin first discovered it in 1932 at the Baiyunshan Mountain. It was believed to be extinct in the wild because there were no reports of this fish in the wild since 1980. In September 2003, a small and isolated population of the fish was discovered in a mountain puddle in the north vicinity of Guangzhou. Additional studies are needed to determine the survival and propagation of the released fish. The protection of their natural habitat should be implemented.

Description of a new species of the genus Tylopharynx (Nemata : Diplogasteroidea), T-clariamphida sp n., with a redescription of T-foetida (Butschli, 1874) Goffart, 1930

Tylopharynx clariamphida sp. n. is described from muddy sand collected in Anhui Province, China. It can be distinguished from T foetida (Butschli, 1874), the type and only species of the genus, by numerous characters: having 24 to 26 prominent and clearly separated longitudinal ridges, a higher lip region with no hint of a cephalic framework, more prominent amphidial foveae in lateral view, wider and more posteriorly located amphidial apertures, smaller basal knobs of stoma, longer metacorpus, more enlarged phasmids, shorter spicules with shorter digitate terminus, shorter reflexed part of testis, and thicker gubernaculum with more angular shape. For comparison, an expanded description is given for T foetida from Belgium, and SEM photographs of both species are provided.

Morphology and infraciliature of three species of Metaurostylopsis (Ciliophora, Stichotrichia): M. songi n. sp., M. salina n. sp., and M. marina (Kahl 1932) from sediments, saline ponds, and coastal waters.

Two new urostylid ciliates, Metaurostylopsis songi n. sp. and Metaurostylopsis salina n. sp. and Metaurostylopsis marina (Kahl 1932) are investigated using live observation and protargol impregnation. These species were isolated in Korea from intertidal sediments, saline ponds, and coastal waters. Metaurostylopsis songi is in vivo about 120 pm x 25 mu m, has a slenderly ellipsoidal body, colorless cortical granules in rows on ventral and dorsal body sides, about 54 macronuclear nodules, 28-47 adoral membranelles, five frontal, two or three frontoterminal and six or seven transverse cirri, and 9-12 midventral cirral pairs followed posteriorly by 1-3 single cirri. In vivo M. salina is about 60 pin x 25 mu m, has a pyriform body, colorless cortical granules irregularly arranged, about 45 macronuclear nodules, 18-23 adoral membranelles, three frontal, three to five frontoterminal and two to five transverse cirri, and four or five midventral cirral pairs followed posteriorly by five to seven single cirri. Both species have three marginal cirral rows on each body side and 3 long dorsal kineties. The Korean specimens of M. marina match the Chinese population in all main features. Metaurostylopsis songi differs from M. marina by the more slender body, the number of frontal cirri (invariably five vs. four), and the arrangement of cortical granules (in rows on dorsal and ventral cortex vs. only along dorsal kinetics and anterior body margin). Metaurostylopsis salina differs from its congeners by the distinctly smaller size, the pyriform body shape, the scattered cortical granules (vs. in rows), and number of frontal cirri. It differs from M. marina also by the number of midventral cirral pairs (four or five vs. seven to 11).

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).