Annual Report of the Game and Fisheries Department for the period 1st July 1956 to 30th June, 1957

This report continues to cover the period of the financial year. Although, as before, for the sake of continuity and accuracy many of the statistics refer to the calendar year. The year has been notable in particular for the launching of extensive research projects on wild-life conservation problems, and much progress has already been made. This has been rendered possible by the greatly appreciated help and interest of the Fulbright Commission, who arranged for three experienced American wild-life scientists to work on these problems in Uganda. The latter have been working in conjunction with The Game and Fisheries Department's Biologist, as a team under the general Direction of the recently created Fauna Research Committee.

East African Fisheries Research Organization Annual Report 1955/1956

This report covers the period 1st July, 1955, to 30th June, 1956. As printing has been delayed for various reasons, reference should be made to certain important proposals put forward since the 30th June. Just after the close of the year a meeting of the Lake Victoria Fisheries Board was held at Entebbe on 26th July. At this meeting disagreement arose between the representatives of the three East African Governments on the subject of whether or not existing restrictions on fishing in Lake Victoria should be retained. This organization holds strongly to the view that the existing restrictions on fishing should be retained, Kenya holds similar views, but Uganda and Tanganyika were in favour of a proposal to lift these restrictions. This question was discussed a month earlier by the Director with the Colonial Office Fisheries Advisory Committee and they also advised the Lake Victoria Fisheries Board against lifting the restrictions.

Annual Report of the East African Agricultural and Fisheries Research Council 1956-57

The annual report present activities carried out by the different organizations that make up the East African Agricultural & Fisheries Research Council which covers reports from the following Organisations: I. Report of the East African Agriculture and Forestry Research Organization 2. Report of the East African Fishery Research Organization 3. Report of the East African Marine Fisheries Research Organization 4. Report of the East African Trypanosomiasis Research Organization and 5. Report of the East African Veterinary Research Organization The activities reported are for the period 1956-57

武汉东湖浮游植物的演变(1956-1975年)和富营养化问题

本文根据1956—1957、1962—1963和1973—1975年在湖北省武汉市东湖进行的三次调查资料,总结了过去二十年内在东湖两个代表性采样站上浮游植物群落生态学的主要变化(包括数量、种类组成、优势种类、多样性指数和初级生产力)。年平均总数在二十年内由每毫升几百个增为几千个。由甲藻和硅藻占优势逐步转变为以绿藻和蓝藻占优势,蓝藻中的大型种类明显增加。年数量变动曲线原来呈春季和秋季两个高峰,但60年代后,已变为夏、秋季的一个蓝藻高峰,而且数量大,延续时间长。浮游植物的年初级生产量和日最高初级生产量也有明显

武昌东湖的数种介形类甲壳动物

<正> 介形类是底栖的切甲类甲壳动物,部分种类的触角上具有发达的游泳刚毛,所以在通常采到的浮游生物标本中亦很常见。早在1903年,G.O.Sars 氏曾经报导过采自我国的介形类共三属五新种。1923年,V.Brehm 也报导过采自我国广州、北京、四川等地的数种介形类,其中还有一新属,三新种及一新变种。

Long-term (1956-1999) dynamics of phosphorus in a shallow, subtropical Chinese lake with the possible effects of cyanobacterial blooms

This paper describes the long-term dynamics of phosphorus concentrations in both the lake water and the sediment in a subtropical Chinese lake, Lake Donghu. The total phosphorus (TP) concentration in the lake water experienced an upward trend from the 1950s, and peaked in 1983/1984, but declined obviously afterwards. From the 1950s to the 1990s, TP content in the upper 10 cm sediment of the lake increased steadily from 0.307 to 1.68 mg Pg DW-1 at Station I and from 0.151 to 0.89 mg Pg DW-1 at Station II, respectively. The TP increase in the lake water before mid-1980s was mainly attributed to the massive input of sewage P. The outbreak of cyanobacterial blooms coincided with the peaks of TP and Orthophosphate (PO4-P) in the water in mid-1980s, and the maximum TP of the water reached as high as 1.349 mg/1 at Station I and 0.757 mg/l at Station II (in 1984), respectively. The declines of TP and PO4-P in the water after mid-1980s was coincident with the disappearance of cyanobacterial bloom. (C) 2001 Elsevier Science Ltd. All rights reserved.

'Cloak Without Dagger': How the Information Research Department Fought Britain's Cold War in the Middle East, 1948-1956

Vaughn, James, ''Cloak Without Dagger': How the Information Research Department Fought Britain's Cold War in the Middle East, 1948-1956', Cold War History (2004) 4(3) pp.56-84 RAE2008

(O)znaki śmierci w polskiej poezji po roku 1956

Wydział Filologii Polskiej i Klasycznej: Instytut Filologii Polskiej

Analiza struktury przestrzennej i czasoprzestrzennej maksymalnych opadów dobowych w Polsce w latach 1956-1980

Jednym z wyników prognoz wykonywanych z zastosowaniem globalnych i regionalnych modeli klimatycznych jest odkrycie wysokiego prawdopodobieństwa wzrostu częstości oraz natężenia ekstremalnych opadów. Poznanie prawidłowości ich powtarzalności i zasięgu przestrzennego ma oczywiście bardzo duże znaczenie gospodarcze i społeczne. Dlatego, niezależnie od wprowadzania nowych technik pomiarowych należy dokonywać analizy i reinterpretacji archiwalnych danych, korzystając z możliwości stwarzanych przez rozwój GIS. Głównym celem opracowania jest analiza prawidłowości przestrzennej i czasowej zmienności miesięcznych oraz rocznych maksymalnych dobowych sum opadów (MSDO) z lat 1956-1980, z obszaru Polski. W pracy wykorzystano nowe w geografii polskiej metody geostatystyczne. Do publikacji dołączono dysk DVD ze źródłową bazą danych i najważniejszymi wynikami w postaci numerycznej i kartograficznej.

STUDIES AND PERFORMANCES OF TRANSCRIPTIONS FOR CELLO FROM THE VIOLIN REPERTOIRE

The potential of the violoncello as a solo instrument was recognized and supported by cellists such as Luigi Boccherini (1743-1805), Luis Duport (1749-1819), Auguste Franchomme (1808-1884), and Alfredo Piatti (1822-1901). These pioneers composed technically demanding etudes, exercises, and caprices for the cello that were comparable to those already present in the violin literature. Even so, in the late nineteenth century and early twentieth century, considerably fewer substantial works were brought forth for the cello as compared with the violin. Consequently, many cellists such as Luigi Silva (1903-1961), Gregor Piatigorsky (1903-1976), Pierre Fournier (1906-1986), and Janos Starker (b. 1924) selected notable pieces from the violin repertoire and transcribed these for the cello. Some composers themselves actually adapted for the cello their own works originally written for the violin. Johannes Brahms with his Violin Sonata Op. 78, Igor Stravinsky with his Suite Italienne, and Béla Bartók with his First Rhapsody all belong to this category. Adaptations such as these further raised awareness among composers and performers of the possibilities of the cello as an independent and expressive instrument. Thus, many composers from the early 1900s to the present were encouraged to write increasing numbers of more soloistic and demanding works for cello. Herein, I explore the repertoire of cello transcriptions in order to analyze the differences between the original and transcribed versions and the challenges found therein. The performer may attempt to recreate the effect originally intended for the violin or, more daringly, may strive to search for alternate presentations of the music more suitable and expressive of the cello's own character. The project includes two recitals of the following transcribed works presented at the University of Maryland College Park, School of Music: Sonata in A by César Franck, transcribed by Jules Delsart, Variations on a Theme from Rossini by Nicolo Paganini, transcribed by Fournier, Suite Italienne by Igor Stravinsky, transcribed with the help of Piatigorsky, Sonatina Op. 137, No. 1 by Franz Schubert, transcribed by Starker, First Rhapsody by Béla Bartók and Sonata, Op. 108 by Johannes Brahms, transcribed by Hsiao-mei Sun.

THE PERFORMER’S INFLUENCE ON FRANCO-BELGIAN COMPOSITIONS FROM 1870 TO 1930

The turn of the 20th century marked an ascendancy of the Franco-Belgian school of composers. French composers were inspired by the great German composers of the Romantic era, and they created their own defined national style that emerged toward the end of the 19th century. The Franco-Belgian composers’ special emphasis on tone, timbre and color encouraged a more individual, personally interpretative approach. These devices underscore the importance and influence a performer can have on the outcome of a piece. I researched the relationship between composers and violinists at a time when the Franco-Belgian style developed and flourished. The Franco-Belgian school of violin playing emerged from the Paris and Brussels conservatories as well as the symbiotic relationship between the performers and composers. Three recitals in collaboration with pianist David Ballena, which comprise this dissertation project, were performed at the University of Maryland. Each recital featured music for violin and piano from 1870 through 1930. The repertoire was chosen to reflect a performer’s influence on a composer. I examined specific composer/performer relationships that helped shape the birth of a newly defined “French” style of playing. My research focused on the stylistic interactions composers, such as César Franck, his disciple Guillaume Lekeu had with the leading prominent Belgian violinist Eugène Ysaye and between Maurice Ravel and the Hungarian violinist Jelly d’Aranyi. I also looked into the personal relationship between friends who inspired each other: Gabriel Fauré and Paul Viardot, Edouard Lalo and Pablo de Sarasate, Claude Debussy and Arthur Hartmann, and the young Lili Boulanger and Yvonne Astruc. Furthermore, I looked into the unfulfilled love between Maurice Ravel and Hélène Jourdan-Morhange, as well as the marriage of Olivier Messiaen with Claire Delbos, both relationships resulting in masterpieces for violin that have remained a part of the standard violin repertoire. My research led me to understand what type of violin playing each composer had in mind while composing, all of which led me to understand the importance a performer has in preserving national styles. The recitals were recorded on compact discs and archived within the Digital Repository at the University of Maryland (DRUM).

THE PIANO FANTASY FROM BACH TO DANIELPOUR

The Fantasy, as the term suggests, is a genre that composers have found congenial for exploring innovative and imaginative processes. Works in this genre are numerous in the solo piano literature, and extend even to works for piano and orchestra and to chamber music with piano. I was curious to explore how a specific genre of music maintained similar characteristics but evolved over time. A fantasy is primed to be inventive and I wanted to see how composers from different eras and backgrounds would handle their material in this genre. I have learned that composers worked through formal developments while making innovations within this genre. The heart of my dissertation is presented through the recording project. Because ofthe abundance ofpiano fantasies, many works had to be excluded from this project for time's sake. On two compact discs, I have recorded approximately two hours of solo piano music. I have included some shorter fantasies to magnify significant developments from era to era, country to country, and composer to composer. The first disc has recordings of eighteenth and nineteenth-century fantasies: Chromatic Fantasy and Fugue, BWV 903 by J.S. Bach (1685-1750); Fantasia inC major, H. XVII, 4 by Franz Joseph Haydn (1732-1809); Fantasy inc minor, K. 475 by Wolfgang Amadeus Mozart (1756- 1791); Fantasia inf-sharp minor, Op. 28 by Felix Mendelssohn (1809-1847); and Polonaise-Fantaisie in A-flat major, Op. 61 by Frederic Chopin (1810-1849). On the second disc I have included mid-19th, 20th and 2151-century piano fantasies: Fantasy and Fugue on the Theme B-A-C-H by Franz Liszt (1811-1886); Fantasia Baetica by Manuel de Falla (1876-1946); Three Fantasies by William Bergsma (1921-1994); Fantasy, Aria and Fugue by Frederic Goossen (1927-2011); and Piano Fantasy ("Wenn ich einmal sol! scheiden") by Richard Danielpour (b. 1956). The accompanying document includes program notes for each of the pieces recorded. They were recorded on a Steinway "D" in Dekelboum Concert Hall at the University of Maryland by Antonino D'Urzo ofOpusrite Productions. This document is available in the Digital Repository at the University of Maryland and the CO's are available through the Library System at the University of Maryland.