Formerly, the elk or Wapiti, Cervus canadensis L., ranged over most of the United States and southern Canada, and is known to have occurred throughout most of Virginia, although it was found more abundant in the mountainous regions of the Allegheny and Blue Ridge Ranges. In 1666, twelve years after the discovery of the New River, Henry Batte, with fourteen Indians, started from Appomattox, near the present site of Petersburg, and in seven days reached the foot of the mountains. On crossing them they came to level, delightful plains with an abundance of game, deer, elk, and buffalo. (Hale, 1886). / Master of Science

1. Improved methods for carrying out the reaction between sodium and acetic anhydride have been presented. Separation of reaction products and quantitative determination have been made easier by means of the improvements. 2. The only products isolated from either room-temperature or high-temperature runs have been sodium acetate and a resinous material believed to be a polymer of diacetyl. No diacetyl has been isolated from the original products of any reaction. 3. Comparison has been made between reactions at room temperature and runs made at high temperatures. Room temperature reactions have been found to give the same products as high-temperature runs but in much smaller amounts. 4. Theoretical discussion of the reaction is presented. A possible mechanism for formation of the resin are proposed. 5. Suggestions for future study of the problem are given. / M.S.

No description available.

This has been a very profitable and interesting study, even though it realizes that the solution can never fit exactly any other specific case. Each community will nave to be studied, and solutions will have to be made on the basis of the merits in each individual case. However, evidence has proved previous assumptions that a community center for every commumity is not only desirable, but almost a necessity if our way of life is to be preserved. Just what form each center will take will have to depend on intensive research and surveys, and the designer must think of possible future needs as well as present needs. Evidence is stronger than ever that well-planned centers will pay, not only ln making life more livable and pleasant, but in actual dollars and cents. / M.S.

Thesis (MA) -- Stellenbosch University , 1928.

No description available.

Orientador: Mauricy Matos Martin / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T14:37:04Z (GMT). No. of bitstreams: 1 GomesFilho_Tarcisio_D.pdf: 94329592 bytes, checksum: 5e4223155742ffe745b791f27d7cdc2b (MD5) Previous issue date: 2010 / Resumo: Esta pesquisa tratou do uso da intertextualidade como recurso composicional em parte da obra para piano do compositor Almeida Prado. Por meio da análise musical de quinze peças deste compositor e comparativa entre as peças dos compositores com os quais ele se relacionou intertextualmente, buscou-se embasar a interpretação das mesmas. A possibilidade de formação da concepção das interpretações, a partir da análise do conteúdo intertextual, foi a idéia central desta tese. Para isso, a análise das peças teve como objetivo, não somente, explicitar as relações estruturais das mesmas, mas também as relações intertextuais que cada uma traz em sua composição. A análise dos intertextos utilizados buscou entender suas funções no discurso visando gerar subsídios para uma interpretação musical mais consciente. O corpus foi dividido em duas partes principais: a primeira abordou a intertextualidade de forma geral, para em seguida abordar o fenômeno na música e na obra do compositor Almeida Prado. A segunda e maior parte tratou da análise das peças, nas quais foram inseridos comentários interpretativos ao final de cada peça. A metodologia constou de pesquisa bibliográfica, estudos de análise musical, entrevista com o compositor e estudo pianístico. Na conclusão, estão contidas as informações que unem tanto as análises realizadas do ponto de vista estrutural das peças quanto as que se referem ao aspecto interpretativo / Abstract: This research addressed the use of intertextuality as a compositional tool in some of the piano works by composer Almeida Prado. Through musical analysis of fifteen pieces by this composer and a comparison with the pieces of the composers with whom he relates intertextually we aimed at providing suggestions for their interpretation. For this, the analysis of the pieces aimed, not only, to clarify the structural relationships between them, but the intertextual relations that each piece brings in its own composition. The analysis of the intertexts tried to understand their functions in the musical discourse aimed at generating support for a more conscious musical interpretation. The work was divided into two main parts: the first addressed the intertextuality in general, as well as approaches this technique in music and in the works of Almeida Prado. The second and most extended part dealt with analysis of the pieces in which interpretative comments and suggestions were made at the end of each piece. The methodology consisted of studying the literature related to intertextuality, musical analysis, interview with the composer and study of the pieces in the piano. In the conclusion, both the musical structural analyses and aspects of interpretation are brought together / Doutorado / Musica / Doutor em Música

Although David Maslanka is not a percussionist, his writing for marimba shows a solid appreciation of the idiomatic possibilities developed by recent innovations for the instrument. The marimba is included in at least eighteen of his major compositions, and in most of those it is featured prominently. Both Arcadia II: Concerto for Marimba and Percussion Ensemble and Concerto for Marimba and Band display the techniques and influences that have become characteristic of his compositional style. However, they express radically different approaches to composition due primarily to Maslanka's growth as a composer. Maslanka's traditional musical training, the clear influence of diverse composers, and his sensitivity to extra-musical influences such as geographic location have resulted in a very distinct musical style. His exemplary attention to detail and sound timbres give his works an individualized stamp. The evolution of motivic gestures is the most distinctive characteristic of Maslanka's compositional process. Maslanka freely incorporates forms and structural principles of the baroque and classical periods, but these principles are not applied in a strict sense. These factors combine to produce two works that are both unique and significant in the literature for marimba. They exhibit a sensitivity to sound timbres while maintaining a mature approach to melody, harmony, and rhythm acknowledging the traditions of earlier eras. This study examines compositional techniques, aspects of formal structure, tonality, melodic content, and marimba technique found in David Maslanka's Arcadia II: Concerto for Marimba and Percussion Ensemble (1982), and Concerto for Marimba and Band (1990). Transcripts of personal interviews provide valuable insights into Maslanka's approach to composition and other issues pertinent to the study of his compositions for marimba. Biographical information and an overview of his works that include marimba will serve as background material.

No description available.

Saint-Denys Garneau est connu pour être le premier poète québécois moderne, mais sa pensée philosophique et esthétique est peu connue du grand public, sans doute parce qu'elle est dispersée dans des fragments de son journal, de sa correspondance et quelques articles de revue. Ce mémoire s'est donné comme objectif de rassembler cette pensée pour en montrer la cohérence profonde et la beauté. « C'est l'être qui fut présent, visible, par le côté de la beauté », écrit Garneau. Cette phrase illustre bien comment l'auteur situe le beau, dans le sillage de la pensée thomiste, comme un transcendantal, c'est-à-dire un versant de l'être, comme le sont la bonté, l'unité et la véracité. La mission de l'artiste consiste à aborder le réel par ce versant; d'en pénétrer les richesses pour en gravir les degrés, et en indiquer le sommet dans l'être subsistant.