Texture, a critical property of Asian wheat noodles, is normally assessed by sensory evaluation. However, sensory evaluation may be impractical for wheat breeders and noodle researchers who need to evaluate a large number of samples and have limited sample. Instrumental Texture Profile Analysis (TPA) has been widely employed to evaluate Asian wheat noodle texture. Nevertheless, a standardized method for performing TPA on these products has not been established. A series of studies were conducted to develop a testing method to best relate TPA results to sensory texture characteristics of Asian wheat noodles. First, the optimum TPA testing conditions (crosshead speed and degree of deformation) were determined for each noodle category (alkaline, instant fried, salted flat, and salted round), and were defined as the conditions which best related their results to the sensory data. Partial Least Squares (PLS2) was used to examine relationships between sensory first-chew characteristics (hardness, cohesiveness, springiness, denseness, starch between teeth, and toothpull) and TPA output (peak areas and heights). Response Surface Methodology determined the optimum TPA conditions (crosshead speed and % deformation) as follow: 1 mm/s and 85 % for alkaline, 1 mm/s and 70% for instant fried and salted round, and 5 mm/s and 65 % for salted flat noodles. Second, the effects of two sample cooking factors: noodle weights (20, 50, 100 g) and noodle to water ratios (1:10, 1:20) and three holding factors: media (with, without water), temperatures (25, 55 °C), and times (2, 15, 30 min), on the TPA results were investigated. Cooking factors did not significantly affect the TPA results but higher holding temperatures, the use of water as a holding media, and longer holding time significantly decreased most TPA parameters' values. Third, relationships between TPA and sensory first-chew parameters were examined for each noodle category. Predictive models of each sensory first-chew attribute were developed using linear and nonlinear (Fechner and Stevens) models, with single and multiple parameters. Hardness could be satisfactorily predicted by a single TPA parameter (area 1 or area 2), but other attributes required multiple parameters in the models to be satisfactorily predicted. Different model types were selected for each sensory attribute and noodle category. TPA peak area 1 and 2 were the best predictors for first-chew characteristics of cooked Asian wheat noodles. / Graduation date: 1998

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Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

My paintings are a combination of transparent images merged with paint and wax. As each piece of art develops, the process is the same. The beginning relies on memory or some connection to my past. Then, the progression evolves through a symbolic infancy with an emerging learning experience, which ultimately transforms into a creative piece, along the road less traveled…to the journey’s end. The transparency comes from the image transfer process, which produces a “ghostly” or antique image due to the deteriorated effect of the image in the transfer. The photographic transfers suggest the image without being so bold as to dominate the overall piece of artwork. The encaustic medium that I use to create the surfaces in my work allows me to explore the features of a sculptural medium. I am able to carve into, apply texture, and build up relief on the surface of each piece. The paint hidden in the crevices or layered on the surface adds emphasis and creates focal points in the painting.

Heinrich Scheidemann and Jacob Praetorius (ii), young organ students from Hamburg, traveled to Amsterdam around the turn of the seventeenth century in order to study with the Dutch organist Jan Pieterszoon Sweelinck. While there, they learned not only the basics of counterpoint and voice-leading, but also how to create new kinds of musical texture, which were derived from improvisational practice. Scheidemann and Praetorius took those musical textures back to Hamburg, where they used them in increasingly long and complex chorale fantasias. This study traces those musical textures from their appearance in Sweelinck's chorale variations, through Praetorius and Scheidemann's chorale fantasias, and finally in the virtuosic showpiece, An Wasserflüssen Babylon, by Scheidemann's student, Johann Adam Reincken. In that piece, Reincken uses Sweelinck's musical textures, as well as his own teacher's expansion of the Dutch keyboard style to produce a work that reflects the text of the chorale on which it is based. And, like a sermon, the musical textures in An Wasserflüssen Babylon give rise to a nuanced narrative that works to take both the performer and listener on an aural journey.