Thesis (M.S.), Natural Resources, University of Wisconsin--Stevens Point, 2004. / Includes bibliographical references (leaves 68-79).

Thesis (M.S.)--University of North Carolina Wilmington, 2009. / Title from PDF title page (January 11, 2010) Includes bibliographical references (p. 18-22)

Thesis (M.S.)--Tennessee Technological University, 2009. / Title from title page screen (viewed on June 29, 2009). Includes bibliographical references.

Thesis (M.S.)--University of Wisconsin--Stevens Point, 2006. / Includes bibliographical references (leaves 83-96).

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2007. / Title from title screen (site viewed Aug. 22, 2007). PDF text: x, 122 p. : music. UMI publication number: AAT 3254329. Includes bibliographical references. Also available in microfilm and microfiche formats.

Master of Science / Department of Biology / Martha E. Mather / Determining patterns and drivers of organismal distribution and abundance are fundamental and enduring challenges in ecology, especially for mobile organisms at a ‘scape scale. To address the problem presented by individuals whose distributions are dynamic across large geographic areas, here I tracked 59 acoustically-tagged migratory striped bass (Morone saxatilis) with an array of 26 stationary receivers in Plum Island Estuary (PIE), MA. Specifically, I asked (1) how these predators were distributed across the estuarine seascape, (2) if these fish used three types of geomorphic sites (exits, confluences, and non-confluences) differently, (3) if distinct types of individual distributional “types” existed, and (4) if fish within distinct distributional groups used geomorphic site types and regions differently. Based on three components of predator trajectories (site specific numbers of individuals, residence time, and number of movements), striped bass were not distributed evenly throughout PIE. Confluences attracted tagged striped bass although not all confluences or all parts of confluences were used equally. Use of non-confluences sites was more variable than exits or confluences. Thus, geomorphic drivers and regions link mobile organisms to physical conditions across the seascape. Based on spatial and spatial-temporal cluster analyses, these striped bass predators clustered into four seasonally-resident distributional types. These included the (1) Rowley River group (fish that primarily resided in the Rowley River), (2) Plum Island Sound group (fish that primarily resided in the Middle Sound region), (3) Extreme Fidelity group (fish that spent most of their time in PIE at a single receiver location), and (4) the Exploratory group (fish that showed no affiliation with any particular location). These distributional groups used geomorphic site types and regions differently. Thus, my data show a rare link between behavioral (i.e., individual animal personalities) and field ecology (seascape geomorphology) that can advance the understanding of field-based patterns and drivers of organismal distribution.

No description available.

This thesis presents a recording of seven jazz compositions as performed in the author’s Master’s Recital on March 24, 2012. One of the compositions is my own, and four others are my own arrangements. The present paper includes scores of the original compositions and arrangements as well as program notes that offer historical background, summaries of the form, and observations on performance practice for each selection. I have sought to explore systematically explore the multiple roles of the double bass as a functional, supportive, and melodic instrument in a jazz piano trio. The seven compositions present the full range of challenges the double bassist must face in a small group setting. I explore different approaches and musical concepts that enable a high level of improvised music performance, without disregarding its ties to tradition.

The goal with this project was to expand the traditional way of using and playing the electric bass. Playing the bass has traditionally meant laying down a musical foundation upon which other ensemble members can play from and with. This process included: use of effects in both discrete and obvious ways, experimenting with fingering and right-hand position, playing techniques and use of different instruments. These parameters were then incorporated into three new songs of which the composing process is described in this thesis. All three songs made the player pushing the limits in terms of timing, accuracy and sound from a traditional bass player point of view.   Conclusions were then made regarding new ways of playing, treating and viewing the electric bass. A new way of viewing the electric bass as an acoustic instrument, the use of effects as subtle sound enhancers and the need of good craftsmanship to maintain solid feel when playing technically demanding music.

No description available.