Johann Heinrich von Thünen: Leben und Werk des Namenspatrons des neuen Bundesforschungsinstituts für Ländliche Räume, Wald und Fischerei

A new concept for resource oriented federal research within the competence of the German Ministry of Food, Agriculture and Consumer Protection was implemented in 2008. The Johann Heinrich von Thünen-Institute, Federal Research Institute for Rural Areas, Forestry and Fisheries is one of 4 newly established large scale federal research institutions. It comprises the former Federal Research Centre for Fisheries, the Federal Research Centre for Forestry and Forest Products and large parts of the Federal Agricultural Research Centre. The institute is named after Johann Heinrich von Thünen, a famous national economist and social reformer of the 19th century. He developed the first serious treatment of spatial economics (the so-called Thünen rings) and the basics of the theory of the natural pay.

Penaeus indicus H. Milne Edwards, 1837: resumo das conclusões dos cruzeiros de pesca exploratória entre 1979 e 1983 no banco de Sofala em Moçambique

From 1979 to 1983, several surveys were carried out with research and fishing vessels at Sofala Bank in Mozambique. Their main objective was the assessment of shallow water prawn stocks, as this resource is of great economic importance for the country. A summary of the conclusions of these surveys regarding the species Penaeus indicus is presented. During the rainy season the species occurs closer to the shore than during the dry season. Estimates of biomass are very variable. The spawning peak seems to occur at the beginning of the rainy season (September-October). The spawning areas are located very close to the shore in the northern part of Sofala Bank and South of 17 degree 10'S in the 15-25 m depth interval.

Penaeus indicus H. Milne Edwards, 1837: a summary of the conclusions from the fishing exploratory surveys between 1979 and 1837 at Sofala Bank, Mozambique

From 1979 to 1983, several surveys were carried out with research and fishing vessels at Sofala Bank in Mozambique. Their main objective was the assessment of shallow water prawn stocks, as this resource is of great economic importance for the country. A summary of the conclusions of these surveys regarding the species Penaeus indicus is presented. During the rainy season the species occurs closer to the shore than during the dry season. Estimates of biomass are very variable. The spawning peak seems to occur at the beginning of the rainy season (September-October). The spawning areas are located very close to the shore in the northern part of Sofala Bank and South of 17 degree 10'S in the 15-25 m depth interval.

G.W.F.Hegel (1770-1831) : Cyfundrefn, Ysbryd a Hanes

Williams, Howard, G.W.F.Hegel (1770-1831): Cyfundrefn, Ysbryd a Hanes (University of Wales Press, 2005), pp.30-48

The Correspondence of Iolo Morganwg, 1770-1826

Jenkins, G.; Jones, F.; and Jones, D. (Eds.). (2007). The Correspondence of Iolo Morganwg: Vols. I, II and III. Cardiff: University of Wales Press. RAE2008

A discourse delivered on Thanksgiving Day, Dec. 7, 1837 : in the Unitarian Church, Keene, N.H.

The print copy of this sermon is held by Pitts Theology Library. The Pitts Theology Library's digital copy was produced as part of the ATLA/ATS Cooperative Digital Resources Initiative (CDRI), funded by the Luce Foundation. Electronic reproduction. Atlanta, Georgia : Pitts Theology Library, Emory University, 2003. (Thanksgiving Day Sermons, ATLA Cooperative Digital Resources Initiative, CDRI). Joint CDRI project by: Andover-Harvard Library (Harvard Divinity School), Pitts Theology Library (Emory University), and Princeton Theological Seminary Libraries.

BACH TO BASICS: A PERFORMANCE STUDY OF THE SUITES FOR SOLO CELLO BY JOHANN SEBASTIAN BACH, BWV 1007-1012

This dissertation project focuses on J.S. Bach's Six Suites and explores the ideology of the Suites as etudes versus concert pieces. It is my belief that the evolution of the rank of the Suites in a cellist's repertoire today represents more than just historical coincidence. My premise is that the true genius of the Suites lies in their dual role as !&I efficient teaching pieces and superior performance works. Consequently, the maximum use of Bach's Six Suites as pedagogical material heightens both technical ability and deeper appreciation of the art. The dual nature of the Suites must always be emphasized: not only do these pieces provide innumerable opportunities for building cello technique, but they also offer material for learning the fundamentals of melody, harmony, dynamics, phrasing and texture. It is widely accepted among academic musicians that Bach's keyboard music serves as perfect compositions -- the model for music theory, music form and music counterpoint. I argue that we should employ the Cello Suites to this same end. The order in which the Suites are presented was deliberately chosen to highlight the contrasts in the pieces. Because the technical demands of each suite grow progressively from the previous one, they were performed non-consecutively in order to balance the difficulty and depth of each recital. The first compact disc consists of the Third Suite in C Major and Fifth Suite in C minor (with scordatura tuning), emphasizing the parallel keys. The Second Suite in D Minor and the Fourth Suite in E-flat Major comprises the compact disc. Finally, in the third compact disc, the First Suite in G Major and the Sixth Suite in D Major (composed for the five string cello piccola, but played here on a four-string cello) highlights the progression of the Suites.

AUSTRO-GERMAN VIOLIN REPERTORIE FROM BAROQUE THROUGH ROMANTIC PERIOD

At the end of the sixteenth century, Germany had become one of the most active centers of early Baroque music, and therefore Austro-German music came to dominate Western music. An investigation of violin works written during this period reveals the ways in which Austro-German compositions are extraordinary contributions to the violin repertoire. This research warranted further study and performance of these works in order to determine what influence these composers had on the violin repertoire as a whole. For my dissertation recital project, I trace the history of works for violin focusing the violin concerto repertoire in particular. A genre which remained popular throughout the century, the nineteenth-century concerto served primarily as a vehicle for virtuosic display of the violin and piano as never before. For my research I studied and performed works selected from the Baroque through the Romantic period in three recorded recitals with collaborative pianists Ilya Sinaisky, Sun-ha Yun, and Seyon Lee at the Gildenhorn Recital Hall, Clarice Smith Performing Arts Center. I selected particularly prominent pieces which represent the work of significant composers from each period. The composers discussed include Johann Sebastian Bach (1685-1750), owing to the fact that his works are the culmination of the Baroque era during the first half of the eighteenth century; from the Classical period, Wolfgang Amadeus Mozart (1756-1791) all of whom emerged mixing German and Italian traditions into his own style, and Ludwig van Beethoven (1770-1827), the bridge composer between the Classical and the Romantic periods; Romantic composers, Franz Schubert (1979-1828), Johannes Brahms (1833-1897), Robert Schumann (1810-1856), Felix Mendelssohn (1809-1847), and Max Bruch (1838-1920), all who tended to mix Classic and Romantic elements. As a violinist, I learned that their own original sound, rich harmonies and unique expression made these works worthy of becoming masterpieces. I have relished the opportunity for musical and professional growth in exploring these substantial compositions.

VARIATION FORMS: A SURVEY THROUGH FOUR CENTURIES OF VIOLIN REPERTOIRE

Variation, or the re-working of existing musical material, has consistently attracted the attention of composers and performers throughout the history of Western music. In three recorded recitals at the University of Maryland School of Music, this dissertation project explores a diverse range of expressive possibilities for violin in seven types of variation form in Austro-German works for violin from the 17th through the 20th centuries. The first program, consisting of Baroque Period works, performed on period instrument, includes the divisions on “John come kiss me now” from The Division Violin by Thomas Baltzar (1631 – 1663), constant bass variations in Sonate Unarum Fidium by Johann Heinrich von Schmelzer (1623 – 1680), arbitrary variation in Sonata for Violin and Continuo in E Major, Op. 1, No. 12 “Roger” by George Friedrich Händel (1685 – 1759), and French Double style, melodic-outline variation in Partita for Unaccompanied Violin in B Minor by Johan Sebastian Bach (1685 – 1750). Theme and Variations, a popular Classical Period format, is represented by the Sonata for Piano and Violin in G Major K. 379 by Wolfgang Amadeus Mozart (1756 – 1791) and Sonata for Violin and Piano in A Major, Op. 47 No. 9 the “Kreutzer” by Ludwig van Beethoven (1770 – 1827). Fantasy for Piano and Violin in C Major D. 934 by Franz Schubert (1797 – 1828) represents the 19th century fantasia variation. In these pieces, the piano and violin parts are densely interwoven, having equal importance. Many 20th century composers incorporated diverse types of variations in their works and are represented in the third recital program comprising: serial variation in the Phantasy for Violin and Piano Op.47 of Arnold Schoenberg (1874 – 1951); a strict form of melodic-outline variation in Sonate für Violine allein, Op. 31, No. 2 of Paul Hindemith (1895 – 1963); ostinato variation in Johan Halvorsen’s (1864 – 1935) Passacaglia for Violin and Viola, after G. F. Handel’s Passacaglia from the Harpsichord Suite No. 7 in G Minor. Pianist Audrey Andrist, harpsichordist Sooyoung Jung, and violist Dong-Wook Kim assisted in these performances.

Comparison of genetic and morphological methods to detect the presence of American lobsters, Homarus americanus H. Milne Edwards, 1837 (Astacidea: Nephropidae) in Norwegian waters

American lobsters (Homarus americanus H. Milne Edwards, 1837) are imported live to Europe and should according regulations be kept in land-based tanks until sold. In spite of the strict regulations aimed specifically at preventing the introduction of this species into the NE Atlantic, several specimens of H. americanus have been captured in the wild, especially in Oslofjord, Norway since 1999. One of the great concerns is interbreeding between the introduced American species and the local European lobster, H. gammarus (Linnaeus, 1758). For this reason an awareness campaign was launched in 2000 focusing on morphologically "unusual" lobsters caught in local waters. Morphological characters have been based on colour and sub-ventral spines on the rostrum. Two samples of H. americanus were used for comparisons, as well as samples of European lobster from Oslofjord collected in 1992. Previous genetic analyses (allozymes, mtDNA and microsatellite DNA) have demonstrated that the American lobster is distinct from its European counterpart, with several additional alleles at many loci in addition to different allelic frequency distribution of alleles of "shared" alleles. During the present study, thirteen microsatellite loci were tested in the initial screening, and the three most discriminating loci (Hgam98, Hgam197b and Hgam47b) were used in a detailed comparison between the two species. A total of 45 unusual lobsters were reported captured from Ålesund (west) to Oslofjord (southeast) from 2001 to 2005 and these were analysed for the three microsatellite loci. Nine specimens were identified as American lobsters. Comparisons between morphological and genetic characteristics revealed that morphological differences are not reliable in discrimination the two species, or to identify hybrids. Further, some loci display almost no overlapping in allele frequency distribution for the reference samples analysed, thus providing a reliable tool to identify hybrids.