I-10 is a multi-movement song-cycle inspired by the I-10 corridor as it passes through southern Louisiana and its impact on my life. I grew up in Lake Charles, spent nine years in Lafayette, and made countless trips to New Orleans in my youth, and I-10 looms as a character in my life as well as the lives of those around me. Once into Louisiana on an eastward trajectory, the Interstate changes dramatically. No longer in the dry, hot desert, the freeway enters the humidity of southern Louisiana, passing over swamps and lakes en route to New Orleans. I was always struck by the exits. They begged to be characters, and I use these as points of departure for this work. I've also drawn freely from the culture of southern Louisiana, its shape determined by I-10 as much as mine. A cycle of 6 songs orchestrated for four voices, guitar, electric bass, drums, percussion, and chamber orchestra, I present this work as an "album" of sorts with each song leading to the next and working together as a cohesive whole. / text

This dissertation reassesses declamation, a pedagogical exercise that was prominent in the rhetoric schools of ancient Greece and Rome but that is now, by many accounts, a mere historical artifact. On the contrary, this dissertation presents declamation as the source of an essential and ongoing dynamic that not only survives but actually underlies much of what continues to take place in contemporary rhetoric classrooms. As such, this dissertation is not only about ancient declamation itself, but about a "declamation dynamic" -- what Wittgenstein might have called a "family resemblance" -- that is essential to any form of rhetorical instruction, particularly approaches that involve games, performance, and role-playing. This dynamic is traced to its ancient roots, and the argument is made that the study and reevaluation of this type of ancient exercise will give contemporary rhetoric teachers a clearer view of their own practices and better equip them to instill modern students with that most enduring of rhetorical values, habitus -- the ability to intuitively grasp the constructed and contingent nature of any rhetorical situation and to adapt accordingly. / text

The proteolytic enzymes in the visceral organs of albacore tuna fish (Thunnus alalunga) were studied, initially as an extract of the whole viscera, then as extracts of the individual organs. Preliminary studies indicated three pH optima of activity in the whole viscera extracts pH 1.7, 3.1-3.5 and 9.5. Analysis of extracts of the individual organs revealed the alkaline proteolytic activity was present in the intestine and the pyloric caeca, with the pyloric caeca showing the highest activity. The stomach extract demonstrated high protease activity at pH 1.7 and 3.5, while the remaining organs had relative activities at least ten times lower at these pH values. The extract obtained from pyloric caeca was studied in more detail. The approximate levels of trypsin-1ike and chymotrypsin-like activities were measured, and the effects of three inhibitors, phenylmethylsulfonylfluoride (PMSF), l-chloro-3-tosylamido-7-amino-L-2-heptanone (TLCK) and L-1-tosylamide-2-phenylethylchloromethylketone (TPCK), determined. Cationic discontinuous polyacrylamide gel electrophoresis coupled with a substrate inclusion technique for localization of the separated proteases of the pyloric caeca extract revealed the presence of ten proteolytic enzymes. One was active in acid solution (ca. pH 4) and was inhibited by PMSF and TLCK. The remaining nine proteases were active at pH 8.0. Five of the alkaline proteases were serine proteases and one of these showed trypsin-like specificity including PMSF and TLCK inhibition and activity against BANA. None of the electrophoretically separated proteases showed specificities similar to chymotrypsin. / Graduation date: 1976

The purpose of this study was to determine the proanthocyanidin content of bananas at the green, the ripe, and the overripe stages. Three bananas from each of three hands at each stage of ripeness, making a total of 27 bananas, were freeze-dried. The ground tissue was dispersed in methanol and the proanthocyanidin in the slurry was converted to anthocyanidin by heating in 0.8 N HCl-n-butanol containing iron (FeSO₄ . 7H₂0). The major anthocyanidin was identified as delphinidin with a minor pigment as cyanidin. Two sub-samples of each banana were analyzed in triplicate and the absorbance of anthocyanidin was read at a wavelength of 545 mμ. The proanthocyanidin content, expressed as milligrams of delphinidin chloride per gram of dried banana, averaged 19.7 for the green, 16.0 for the ripe, and 13.7 for the overripe. Differences in the proanthocyanidin content of the bananas due to ripeness were statistically significant. Moisture content averaged 71.3% for the green, 73.0% for the ripe, and 74.9% for the overripe. Proanthocyanidin content on a fresh weight basis, expressed as milligrams of delphinidin chloride per gram of banana, averaged 5.63, 4.33, and 3.44 for the green, ripe and overripe, respectively. The proanthocyanidin content of the bananas in this study was considerably higher than values previously reported. Analysis of the pulp rather than the extractable proanthocyanidin and a more acidic developer and one which contained iron were major factors contributing to the higher values. While the proanthocyanidin content decreased significantly with ripeness of the bananas, two other groups of workers reported decreases that were proportionately greater. Their data was based on extractable proanthocyanidin and polymerization of these compounds as the fruit ripens could account for their lower values. Conversion of unextractable polymers in the pulp to soluble anthocyanidin could account for the higher values in the present study. A high proportion of the variance for treatment mean was due to hand and relatively little due to banana on the hand, suggesting that fewer bananas from more hands could have been analyzed. A better method than skin color for assessing ripeness is suggested. / Graduation date: 1969

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Something To Be Happy About: Concerto for C Tenor Pan and Orchestra is the first concerto for orchestra and steel drum to be composed in American. Divided into three movements, this 18 minute work is scored to capitalize upon the nuances of the C Tenor Pan and to provide a solid piece for the new wave of pan musicians that are clamoring for music written for the instrument. / A Thesis submitted to the Department of Theory and Composition in partial fulfillment of the requirements for the degree of Master of Music. / Spring Semester, 2003. / April 15, 2003. / Musical Composition / Includes bibliographical references. / Mark Wingate, Professor Directing Thesis; Peter Spencer,, Committee Member; Evan Jones,, Committee Member.

Digitized by Kansas Correctional Industries

<p> <i>Heave, Sway, Surge</i>(2014&ndash;19) is a musical composition for nine instruments that attempts to evoke the subjectivity of a body in motion by deploying sound-mass textures that rely on transitional acoustic states. It uses motion and force as its musical material and a system of notation in which acoustic parameters are represented vertically against horizontal time, with line segments plotting their continuous values; and shows discrete positions and configurations as tablature. The production of the score relied on a suite of software tools that formalizes musical materials, compositional processes and score structures in an object-oriented fashion, and typesets a score in PDF format for digital distribution and printing. This essay provides historical context for my aspirations with this work, discusses the modeling of instrumental performance parameters, details he notation system designed for the score, describes the architecture and development process of the software, and illustrates the decisions involved in the composition of the work.</p><p>

archives@tulane.edu / 1 / Stephen Montalvo