Collecção das Leis do Brazil de 1810

Parte 1 - Cartas de Lei, Alvarás, Decretos e Cartas Régias

Collecção das Leis do Imperio do Brasil de 1848

Parte 1 - Leis

Morphometry and population dynamics of Sepia aculeata, (Orbigny - 1848) along the Bombay coast

Cephalopods gained importance in the fishing industry when they emerged as one of the leading sea food products exclusively for international market in the mid seventies. Cephalopods fishery in India is still in an infant stage with vast scope for exploitation. The present work on the cephalopods fishery along the Bombay coast is an effort to quantify the resource potential of Sepia acculeata. The morphometry, growth parameters, mortality (total, natural and fishing) rates, the yield per recruit and standing stock were studied.

Morphometry and length-weight relationship of Coilia dussumieri, Valenciennes, 1848 from Mumbai waters

Coilia dussumieri Valenciennes, 1848 a component of 'dol' net fishery forms an important pelagic resource along northwest coast of India. The present communication deals with morphometry and length-weight relationship of this species along Mumbai coast. Morphometric study showed a positive correlation among the compared characters. The length-weight relationship for the species from Mumbai coast was found to be W=0.017L super(2.4223).

Morphometry, length-weight relationship and biology of Sepia aculeata (d'Orbigny, 1848) from Mumbai coast, India

Seventeen morphometric characters of Sepia aculeata of Mumbai coast have been studied and the relationships of morphometric characters with dorsal mantle length (DML) were established. The characters compared showed a fair to high degree of correlation ('r' 0.63-0.99). Number of arm suckers and shell rings were related with DML. The shell rings also showed high degree of correlation with DML ('r' 0.79-0.95). However, the relationship between arm suckers and DML was not so good ('r' 0.1-0.4). The length-weight relationship is described as W=0.1821336 L sub(2.801102). Food and feeding analysis confirm the carnivorous feeding behaviour of the species. Mature females found in all months indicate that it has prolonged spawning season with two peaks, september and march-april. Absolute fecundity ranged from 214 to 4143 eggs.

Influence of a fish bacterium Lactobacillus sp. on the production of swordtail xiphophorus helleri (Heckel 1848)

The influence of a fish gut bacterium Lactobacillus sp on the production of swordtail Xiphophorus helleri was studied for a period of one year. The Lactobacillus sp P21 produced bacteriocin-like inhibitory substance and exhibited wide spectrum of action against Aeromonas hydrophila, Bacillus spp, Pseudomonas spp and Citrobacter freundi in vitro. The growth performance of X. helleri reared in the presence of Lactobacillus P21 at 106/ml rearing water was better than the control. The total plate counts, total MRS agar counts and the counts of motile aeromonads, presumptive pseudomonads, lactose fermenters and lactose non-fermenters in the gut of probiotic group were comparatively low than the control. On day 60 the count of Lactobacillus sp P21 was observed to be log 5.28/g in the gut of X. helleri indicating colonization of this bacterium in the gastrointestinal tract. The fecundity of X. helleri was in the range of 9-134. On average, it produced from 39.42±18.72 fry/female in control group to 53.00±23.57 fry/female in probiotic group. The increase in average fecundity in probiotic group over the control group was about 25%. There existed significant difference between probiotic group and control in respect of average fecundity/female (p<0.02), average number of fry survived /female (p<0.006) and average number of fry dead/female (p<0.029). The results of the present study demonstrated that the rearing of X. helleri in probiotic-enriched water have growth inducing ability and favourably influenced the reproductive performance in terms of high fecundity, high fry survival, reduced fry mortality and reduced fry deformity.

Morphometric relationships of spineless cuttlefish, Sepiella inermis (Orbigny, 1848) from Mumbai waters

The relationships of various morphometric characters with dorsal mantle length (DML) of Sepiella inermis from Mumbai waters was established. The coefficient of correlation (r²) for various morphometric characters against dorsal mantle length ranged from 0.747 to 0.942 indicating high degree of relationship among the characters compared. The regression of characteristics obtained by least squares method for S. inermis indicates that the characters have positive allometric growth.

People and Politics in France, 1848-1870

Price, Roger, People and Politics in France, 1848-1870 (Cambridge: Cambridge University Press, 2004), pp.x+477 RAE2008

The journal of the Bishop of Montreal : during a visit to the Church Missionary Society's north-west America mission; to which is prefixed, by the secretaries, an introduction, giving an account of the formation of the mission and its progress to August 1848.

http://www.archive.org/details/journalofthebish00mounuoft

JOACHIM, BRAHMS, AND SCHUMANN: THE FLOURSHING OF NINETEENTHCENTURY VIOLIN REPERTOIRE

The cultivation of violin repertoire and its ultimate dominance of the late Nineteenth-Century orchestral library are best examined through the analysis and study of the works of Joseph Joachim (1831-1907), Johannes Brahms (1833-1897), and Robert Schumann (1810-1856). Each of these men, in their own right, made significant contributions to the development of violin repertoire during the latter half of the Nineteenth Century. Yet their achievements were also the result of a collaborative effort and shared influence, the absence of which would have yielded a diminutive musical landscape, especially in the concerti of Brahms and Joachim. This dissertation explores Joachim’s technical dexterity and its influence on Brahms and Schumann, and further studies the vital role Brahms and Schumann played in forming Joachim as both composer and editor. The pieces examined in this dissertation evidence the significant influence each of these composers shared. Three chamber compositions stand as guideposts in the analysis and establish a stylistic foundation to collaborative efforts among Joachim, Brahms, and Schumann. The preliminary recital focuses on these chamber pieces which illustrate the individual style of each composer, featuring Joachim’s Romance, Op. 2, written between 1848 and 1852, Schumann’s Second Sonata, Op. 121, written in 1851, and Brahms’ Second Sonata, Op. 100, written in 1886. A second performance includes the enigmatic F-A-E Sonata of Brahms, Schumann, and Albert Deitrich, Schumann’s pupil, as well as Joachim’s Second Concerto. A collaborative effort, the F-A-E Sonata represents Brahms’ and Schumann’s efforts to write with Joachim’s unbridled style and technique in mind. An even greater musical offering, Joachim’s Second Concerto, a gift to Brahms in 1860, has been called the “Holy Grail” of concertos, and is considered the preeminent display of Joachim’s creative genius by incorporating demanding technical challenges and Hungarian-like overtones. The third and final program features Brahms’ Concerto in D Major. A fitting response to Joachim’s gift 17 years later, Brahms’ Concerto was written for Joachim at the height of his career, bearing the performer’s stylistic elements throughout. The recital also includes various Hungarian Dances by Brahms. While the Dances were not original to Brahms, they further illustrate the underlying idiom of Hungarian folk music in both Brahms’ and Joachim’s art.

THE PIANO MUSIC OF ROBERT SCHUMANN (1810-1856) AND JOHANNES BRAHMS (1833- 1897): A SURVEY OF CONCERTI, VARIATIONS, AND CHARACTER PIECES

Robert Schumann (1810-1856) and Johannes Brahms (1833-1897), in some ways Robert Schumann's artistic descendant, are the most important and representative German piano composers during the Romantic period. Schumann was already a mature and established musician in 1853 when he first met the young Brahms and recognized his talents, an encounter that had a long-lasting affect on the lives and careers of both men. After Schumann’s mental breakdown and death, Brahms maintained his admiration of Schumann’s music and preserved an intimate relationship with Clara Schumann. In spite of the personal and musical closeness of the two men, Schumann’s music is stylistically distinct from that of Brahms. Brahms followed traditions from Baroque and Classical music, and avoided using images and expressive titles in his music. Brahms extraordinarily intermingled earlier musical forms with multicolored tones of German Romanticism. In contrast, Schumann saw himself as a radical composer devoted to personal emotionalism and spontaneity. He favored programmatic titles for his character pieces and extra-musical references in his music. While developing their own musical styles as German Romantic composers, Schumann and Brahms both utilized the piano as a resourceful tool for self-realization and compositional development. To investigate and compare the main characteristics of Schumann and Brahms’s piano music, I looked at three genres. First, in the category of the piano concerto, I chose two major Romantic works, Schumann’s A minor concerto and Brahms’s B-flat major concerto. Second, for the category of piano variations I included two sets by Brahms because the variation framework was such an important vehicle for him to express his musical thoughts. Schumann’s unique motivic approach to variation is displayed vividly in his character-piece cycle Carnaval. Third, the category of the character piece, perhaps the favorite medium of Romantic expression at the piano, is shown by Schumann’s Papillons and Brahms’s sets of pieces Op.118 and Op.119. This performance dissertation consists of three recitals performed in the Gildenhorn Recital Hall at the University of Maryland, College Park. These recitals are documented on compact disc recordings that are housed within the University of Maryland Library System.

SELECTED CHARACTER PIECES OF FRÉDÉRIC CHOPIN (1810-1849), FRANZ LISZT (1811-1886) AND JOHANNES BRAHMS (1833-1897)

During the 19th century, Frédéric Chopin (1810-1849), Franz Liszt (1811- 1886), and Johannes Brahms (1833-1897) were among the most recognized composers of character pieces. Their compositions have been considered a significant milestone in piano literature. Frédéric Chopin (1810-1849) did not give descriptive titles to his character pieces. He grouped them into several genres such as Mazurkas, Polonaises. His Mazurkas and Polonaises are influenced by Polish dance music and inspired by the polish national idiom. Franz Liszt (1811-1886) was influenced in many ways by Chopin, and adopted Chopin’s lyricism, melodic style, and tempo rubato. However, Liszt frequently drew on non-musical subjects (e.g., art, literature) for inspiration. “Harmonies poétiques et religieuses” and “Années de pèlerinage” are especially representative of character pieces in which poetic and pictorial imagination are reflected. Johannes Brahms (1833-1897) was a conservative traditionalist, synthesizing Romantic expression and Classical tradition remarkably well. Like Chopin, Brahms avoided using programmatic titles for his works. The titles of Brahms’ short character pieces are often taken from traditional lyrical or dramatic genres such as ballade, rhapsody and scherzo. Because of his conservatism, Brahms was considered the main rival of Liszt in the Romantic Period. Brahms character pieces in his third period (e.g., Scherzo Op.4, Ballades of Op.10, and Rhapsodies of Op.79) are concise and focused. The form of Brahms’ character pieces is mostly simple ternary (ABA), and his style is introspective and lyrical. Through this recording project, I was able to get a better understanding of the styles of Chopin, Brahms and Liszt through their character pieces. This recording dissertation consists of two CDs recorded in the Dekelboum Concert Hall at the University of Maryland, College Park. These recordings are documented on compact disc recordings that are housed within the University of Maryland Library System.

LUCIANO BERIO’S NATURALE: A STORY COMBINING FOLK MUSIC AND ART MUSIC

The study of a score by a serious performer is a fundamental step in the process of arriving at a knowledgeable and deeply informed approach to performing a piece of music. In order to obtain this knowledge numerous aspects of the score must be taken into consideration. It is the intent of this dissertation to gather and analyze the information concerning Naturale, a work written by Luciano Berio in 1985 for viola, percussion and recorded voice, based on Sicilian folk songs. All the aspects surrounding Naturale’s existence are taken into consideration in this study. First, it is important to reflect on Berio’s compositional style and traits, the manner in which he relates his works one to another, what he sees in folk music and his own personal desire to intertwine art music and folk music. For Berio Naturale is not an isolated venture into the realm of mixing folk music and his own avant-garde style; it is instead one of many works resulting from his long-standing relationship with folk music. Another essential aspect in this case is the study of Sicilian folk music itself, and the sources used by Berio to find the songs by which he was inspired. The work is examined section by section with figures showing both excerpts of Naturale as well as the original songs with their translations. An analysis containing harmonic, thematic and formal aspects of the score was developed in order to arrive at a better understanding of the structure and pacing of the piece. For this research the author went to Italy to conduct an interview with Maestro Aldo Bennici, the Sicilian violist for whom Naturale was composed. This interview helped in the discovery of two more songs used by Berio that have not to this point been identified in any other document. Bennici’s outstanding testimony portrayed the expressive character of this music and the evocative imagery behind this score. I hope to bring this knowledge to other performers, that they may fully understand and appreciate the unique beauty and power of Berio’s Naturale.