Thesis (Ph. D.)--University of Wisconsin--Madison, 1961. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 144-149).

Thesis (Ph. D.)--Wildlife and Fisheries Sciences Dept., South Dakota State University, 2009. / Includes bibliographical references (leaves 95-116). Also available via the World Wide Web.

Treatise (D.M.A.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (M.S.)--University of Missouri-Columbia, 2003. / Typescript. Includes bibliographical references (leaves 59-69). Also available on the Internet.

Thesis (M.S.)--University of Wisconsin--Madison, 1981. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 84-97).

Orientador: Sonia Ray / Banca: Valerie Albright / Banca: Fausto Borém / Banca: Lutero Rodrigues / Banca: Emerson de Biaggi / Resumo: O contexto e as especificidades do tratamento do contrabaixo nas obras orquestrais de Heitor Villa-Lobos são o objeto principal da investigação aqui apresentada. O estudo tem por objetivo geral discutir a abordagem idiomática empregada pelo compositor na escrita das partituras do contrabaixo na grade orquestral, para, a partir daí, propor a tese de que tais excertos possam ter relevância considerável para o estudo técnico-musical do instrumentista, no que se defende a pertinência de sua adoção por intérpretes, professores e estudantes de contrabaixo. A metodologia de pesquisa inclui extensa revisão de literatura, com visita a autores do século 18 aos dias atuais, seguida de identificação de equivalências idiomáticas no repertório orquestral tradicional, contextualização das influências na escrita para o contrabaixo de Villa-Lobos e concluindo, por fim, com a proposição de uma seleção de excertos para a prática pedagógica. A tese é desenvolvida em três capítulos centrais. O primeiro trata da revisão de literatura sobre estudos de excertos orquestrais para contrabaixo e traça um panorama atual de sua aplicação em instituições locais, pondo em discussão, particularmente, a escassez desses materiais no âmbito da produção orquestral brasileira. O segundo capítulo aborda as influências na escritura das linhas de contrabaixo de Villa-Lobos, com descrição de aspectos idiomáticos na escrita do compositor para o contrabaixo em obras orquestrais, ilustrados com exemplos musicais de sua ... (Resumo completo, clicar acesso eletrônico abaixo) / The context and the specificities of the Villa-Lobos' treatment to the double bass in his orchestral works are the main object of the investigation hereby presented. The main goal is to discuss the idiomatic approach to the double bass on Villa-Lobos' orchestral works as a way to present the thesis that the excerpts of such orchestral works are relevant to the technique musical study of the performer, as well as localizing and indicating its pertinence to double bass performers, professors and students. The methodology chosen was the review of the literature followed by an identification of idiomatic equivalences from the traditional orchestral repertoire, the contextualization of Villa-Lobos' influences on its double bass writing and the selection of excerpts. The thesis is organized in three chapters, besides the introduction, conclusion and appendixes. The first chapter presents the review of the literature on orchestral excerpts for the double bass where today state of the art in Brazilians institutions is presented. The discussion is centered in the lack of material addressed to the studies of Brasilian orchestral works. The second chapter addresses the influences Villa-Lobos received while writing his double bass parts. Here idiomatic aspects of the composers writing for the instrument are described as well as a selection of works that better illustrate such writing and his symphonies, the Choros 10 and the Bachianas 9 are emphasized. The third chapter presents a excerpts selection for the double bass extracted from the works mentioned on chapter two, with emphasis on passages relevant for the technical study of the performer organized by type of idiomatism. The criteria for the selection of excerpts are also presented. At the end of this work it is possible to state that the composer had an elaborated and idiomatic writing for the double bass treating it with respect for its low range nature, ... / Doutor

Orientadora: Sonia Marta Rodrigues Raymundo Fassassi / Banca: Luciano de Souza Zanatta / Banca: Alexandre Silva Rosa / Resumo: Este trabalho discute a preparação para a performance do contrabaixo numa relação com dispositivos computacionais de interação em tempo real, dentro de vertentes conhecidas como Live Electronics e Live Looping. Para tal discussão foi utilizado o programa Ableton Live, desenvolvido na Alemanha em 1999, que atualmente constitui ferramenta de produção musical amplamente utilizada em performances ao vivo e em estúdio. O objetivo geral deste trabalho é discutir possibilidades de utilização do programa Ableton Live como ferramenta na preparação e realização da performance ao contrabaixo bem como a interação entre o músico e o computador, de forma a propor estratégias de preparação da performance do contrabaixo com Live Electronics e Live Looping. A discussão enfatiza o papel do performer, bem como aspectos relacionados à performance musical do contrabaixo acústico neste contexto. O trabalho está organizado em 4 partes principais: 1) Revisão da Literatura sobre questões organizacionais, técnico-interpretativas; aspectos psicológicos, abordagens sobre a musicalidade e expressividade; conceitos de Hiperinstrumento, técnica estendida e a relação compositor-intérprete; 2) Apresentação dos objetos de estudo - recursos de execução do contrabaixo na contemporaneidade; breve histórico sobre Live Electronics e aspectos básicos de funcionamento do programa utilizado; 3) um relato de experiência sobre a preparação de um recital de contrabaixo e piano que utilizou o sistema computacional como ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This paper discusses the preparation for a contrabass performance related to real-time interaction computing devices, within known strands like Live Electronics and Live Looping. The software chosen to work was Ableton Live, developed in Germany in 1999, widely used for music production and live performances and in studio. The general objective of this work is to discuss possibilities of using the Ableton Live program as a tool in the preparation and performance of the double bass as well as an interaction between the musician and the computer, to propose a strategy for the preparation of double bass performance with Live Electronics and Live Looping. The discussion emphasizes the role of the performer as well as related to the musical performance of the acoustic bass in context. The work is organized in 4 main parts: 1) Literature review on normative issues, technical-interpretative, psychological questions and approaches on musicality and expressivity; on concepts of Hyper instrument, extended technique and the relation composer-interpreter; 2) Presentation of the objects of study - resources of execution of the contrabass in the contemporaneity; Brief history on live electronics and basic program operating features; 3) an experience report on the preparation of a double bass and piano recital that uses the computer system as a fundamental part of the performance preparation strategy; 4) The process of preparation for a performance, the relationship between composer and p... (Complete abstract click electronic access below) / Mestre

abstract: The following project is an audition preparation handbook for double bass players. The materials and techniques included are designed for use by advanced collegiate bass players seeking work as freelance or contracted musicians. Subjects ranging from finding an opening, becoming mentally and physically prepared, and developing the skills and experience necessary to be successful will be examined. The most frequently requested audition excerpts are included in this document, carefully extracted from the original orchestra parts and notated with efficient fingerings. Elements of style and performance are discussed. Each of the excerpts is recorded on the enclosed CD, performed by the author as examples to the readers. It is the hope of the author that the study and use of this text will better prepare the readers for entrance into the working world of the music industry. Ideas, processes, and materials that are often neglected in a degree program are examined with the hope that students will be better prepared to audition for, and win orchestral positions. / Dissertation/Thesis / D.M.A. Performance 2011

Comparative ecology and interspecific competition were examined between two sympatric congeners, Sebastes caurinus Richardson 1845 (copper rockfish) and S. maliger (Jordan and Gilbert 1880) (quillback rockfish) in Saanich Inlet, British Columbia, Canada, from 1986-1990. Ecological profiles were constructed through analyses of depth distribution, habitat and species associations, activities, feeding habits, gut allometry, growth, and reproduction. Interspecific competition between copper and quillback rockfish was examined by experimentally manipulating the densities of one or the other species on rocky reefs in Saanich Inlet where they were sympatric. The Pisces IV submersible was used to survey the distribution of rockfish in relatively deep-water (21-140 m) in Saanich Inlet. Copper and quillback rockfish were sympatric in water depths of 21-65 m. They occurred in association with one another the majority of the time (>90%) and their densities were greatest over areas of complex substrate. Size of copper and quillback rockfish was positively correlated with increased depth, primarily due to the absence of small fish in deeper waters. Both species were observed most frequently perched on open substrate or hovering in the water column. Copper rockfish were observed swimming more frequently than quillback rockfish. Copper and quillback rockfish primarily consumed demersal crustaceans throughout the year. Copper rockfish consumed a greater proportion of pelagic fishes than quillback rockfish, whereas quillback rockfish had a greater proportion of pelagic crustaceans in their diet. Levins' (1968) measure of niche breadth of the diet (by mass), as standardized by Hurlbert (1978), was narrow (0.19-0.20) to moderate (0.32-0.51) for quillback and copper rockfish respectively, during spring, summer, and fall. In the winter it was extremely narrow (0.02) for both species due to their feeding predominantly on one prey type, juvenile herring (Clupea harengus) . The Simplified Morisita Index of niche overlap (Horn 1966) in feeding habits (by mass) was relatively high (>0.55) throughout the year, and particularly during the winter (0.99). This high niche overlap in the winter occurred when large schools of juvenile herring were available in the environment and were probably not a limited resource. Extensive niche overlap between copper and quillback rockfish may therefore indicate an abundance of a shared resource rather than competition for the resource. Copper and quillback rockfish consumed the greatest quantity of food during the winter when feeding on juvenile herring, although quillback rockfish consumed significantly less food mass than copper rockfish in the winter. A greater proportion of quillback rockfish were collected with food in their stomachs during the spring and summer, when the numerically dominant food items were pelagic crustaceans. The importance of fish prey in the diets of both copper and quillback rockfish increased with size. Copper rockfish had a shorter intestine and larger stomach relative to similar-sized quillback rockfish. This suggested that the gastrointestinal tract of copper rockfish was better suited to holding and digesting fish and larger crustaceans than quillback rockfish, an observation consistent with differences in their feeding habits. Copper and quillback rockfish had similar growth patterns with no readily identifiable species-specific and sex-specific differences. Both sexes of both species attained asymptotic lengths of 30-31 cm total length and had similar growth coefficients (0.141-0.187). Within each sex, copper rockfish had a smaller increase in mass per unit of body length than quillback rockfish, indicative of a more pelagic lifestyle for copper rockfish. Estimated lengths at first and 100% sexual maturity for female and male copper and quillback rockfish were similar. Male copper rockfish were ripe, and potentially inseminated females, in January and February. Female copper rockfish were found to be carrying fertilized eggs in April and May, and gave birth to their young primarily in June. The reproductive cycle of quillback rockfish preceded that of copper rockfish by approximately one month, with parturition for quillback rockfish occurring mainly in May. The fecundity of copper and quillback rockfish was similar, with a 30-cm fish giving birth to approximately 90,000 young. Visceral fat cycles of mature female copper and quillback rockfish were complementary to their cycles of gonad maturation and increases in gonad size, indicating that they use visceral fat stores as a source of energy for maturation of their eggs and nourishment of their developing young. Visceral fat cycles of mature males were mainly coincident with the maturation and size increase of their gonads, indicating that they did not use visceral fat reserves in the maturation of their gonads. Male rockfish secondarily may have used their fat reserves as an energy source during the period when they were ripe, perhaps for mating activities. Visceral fat accumulation and dissipation in immature males and females appeared to be primarily related to periods of feeding. Interspecific competition between copper and quillback rockfish was asymmetrical, seasonal, and transitory, based on experimental manipulations of the densities of the congeners in natural populations. Copper rockfish did not have a competitive effect on quillback rockfish, but quillback rockfish had a weak competitive effect on copper rockfish. This effect was apparent only during the fall, was strongest in the fall immediately following the density manipulations, and appeared to weaken in the subsequent fall season. The seasonal competitive effect may have been caused by copper rockfish moving onto the study reefs (18-31 m depth) from shallower waters (<20 m) during the fall and winter, creating a short-term 'ecological crunch' in which food or space resources were limited. Overall, comparative ecological profiles of copper and quillback rockfish exhibited a large degree of overlap. Differences observed between them were small but consistently indicated that copper rockfish had a more pelagic lifestyle than quillback rockfish. The otherwise high degree of similarity between the two congeners, however, did not translate into sustained interspecific competition. Ecological theory purporting a major role for interspecific competition in structuring fish communities was therefore not supported by experimental manipulations of population densities of deep-subtidal, temperate zone rockfishes. The asymmetrical, seasonal, and transitory occurrence of weak interspecific competition demonstrated that competition between these rockfish species is dynamic, and cannot account for the pattern of species association. Alternative hypotheses based on the importance of intraspecific competition, predation, or environmental variability must therefore be considered. / Graduate

General-Bass in drey Accorden (1756), the first of Johann Friedrich Daube's theoretical works, is a practical instruction manual in thorough-bass accompaniment. It consists of a sixteen page preface followed by 215 pages of text and musical examples. The twelve chapters begin with a presentation of interval classification and a discussion of consonance and dissonance. Daube then explains a theory of harmony in which all "chords" are derived from three primary chords. These are illustrated with regard to their sequence in harmonic progressions, their resolutions—common and uncommon—, and their use in modulation. Seventy-two pages of musical examples of modulations from all major and minor keys to all other keys are included. Particular attention is given to the fully diminished seventh chord, which is illustrated in all inversions and in numerous modulatory progressions. Daube devotes one chapter to three methods of keyboard accompaniment. The subject matter includes textures, dynamics, proper doubling, the accompaniment of recitatives, full-voiced accompaniment, the use of arpeggiation, trills, running passages, and ornamentation in general.