Instream Flow Incremental Methodology (IFIM) and Habitat Evaluation Procedure (HEP), require the use of habitat preference curves to model the habitat requirements of fish. The accuracy of these curves has been questioned, particularly when they are applied outside the geographic area for which they were developed. Depth, velocity, substrate, and cover preference curves were developed for adult and juvenile smallmouth bass (Micropterus dolomieui) in Wet Beaver Creek, Arizona, and were compared to those from previous habitat preference studies in Virginia, Oklahoma, and Arizona. Curves for fishes in Wet Beaver Creek also were compared to curves developed using information from the scientific literature. Additionally, curves were developed for adult and subadult roundtail chub (Gila robusta) in Wet Beaver Creek, and adult roundtail chub and razorback sucker (Xyrauchen texanus) in Fossil Creek. The curves for adult roundtail chub were compared between these two locations. Velocity and depth preference curves, for both adult and juvenile smallmouth bass, appeared transferrable among locations. Minor differences between the depth curves were attributable to sampling techniques. Substrate preference curves were not transferrable; smallmouth bass seemed to use whatever substrates were locally available. No conclusion concerning the transferability of cover curves could be made because the definitions used for cover varied widely among investigators. Depth, velocity and substrate preferences of roundtail chub differed between the two streams studied, even though these streams were in the same drainage. The differences may have been related to the presence of smallmouth bass in Wet Beaver Creek; smallmouth bass were not present in Fossil Creek. Habitat preference curves based on depth, velocity, substrate, and cover parameters were developed for razorback suckers in Fossil Creek. No curves have been developed previously for razorback suckers in the lower Colorado River Basin; therefore, no comparisons were possible. This species was probably introduced into Fossil Creek and the habitat preference defined in this study may not represent razorback suckers throughout their range. Razorback suckers do not appear to have successfully spawned in Fossil Creek. This lack of success may reflect the absence of suitable habitat or simply indicate the fish have not reached sexual maturity.

Der sächsische Premierminister Graf von Brühl gründete 1735 in Warschau eine eigene Hofkapelle. Brühl engagierte 1735 zunächst sechs Musiker, unter ihnen den Kapellmeister Gottlob Harrer sowie den Cembalisten Georg Gebel, den Cellisten Müller und den Lautenisten Johann Kropffgans, alle aus Breslau. Die Brühlsche Kapelle wuchs bis 1746 auf 15 und bis 1765 gar auf 24 Mitglieder an. Da sich der Hof zwischen Dezember 1734 und August 1736 sowie dann ab 1738 aller zwei Jahre zu den polnischen Reichstagen immer mehrere Monate in Warschau aufhielt, wurden die Musiker der Brühlschen Kapelle auch an die »Kleine Polnische Capelle« ausgeliehen, wie überhaupt die Grenzziehungen zwischen beiden Orchestern nicht streng waren. Während der Aufenthalte in Sachsen waren die Musiker auf den Brühlschen Schlössern, besonders in Pförten in der Niederlausitz, tätig. Mit 26 Jahren wurde Georg Gebel als Komponist und Cembalist Mitglied der privaten Kammermusik des Grafen Brühl. Anlass und Interpreten der vorliegenden Triosonate sind nicht bekannt. Die Vermeidung von leiterfremden Tönen und die idiomatische Schreibweise deuten auf die Verwendung einer einreihigen Harfe hin. Da bisher jedoch kein Dresdner Instrumentalist nachgewiesen werden konnte, der eine solche Harfe spielte, könnte Gebel das vorliegende Werk auch für eine Liebhaberin oder einen Liebhaber des Instruments komponiert haben, um es in einem Salon in einem der Brühlschen Schlösser zum Klingen zu bringen.

The chemosensory abilities of fishes, are important in order to understand how prey can perceive and avoid predators. Predator-naïve Channel catfish were exposed to four extracts over eight sessions (naïve bass water (NBW), bass that were fed catfish water (BFCW), catfish skin extract (CS), and naïve bass water paired with catfish skin extract (CO)) to determine whether they have an innate predator response to potential chemical cues indicating possible predation risk. Movement was quantified as grid squares crossed, directional changes, and tail beats. Response increased during the first minute following stimulus injection and decreased during the second minute. Channel catfish increased movement upon exposure to stimuli from NBW, CS and CO but not to BFCW. Increased response to bass odor while habituating to catfish skin extract, which presumably contains alarm pheromone, suggests that catfish learned to recognize bass odor without external reinforcement.

This piece was started during the spring semester of 2005. The original conception was to write something that was both emotionally and mentally moving. The tempo is very slow, 54 beats per minute. The underlying theme is the harmonic movement of an E minor triad (E G B) moving to a F major 7th chord (F A C E). This chord is often approached using deceiving the listener with a do – re – ma – do melody in E minor, but when the final E is heard, it has become the 7th degree of the cadence chord, F major 7th. This theme is carried through several colors. The first time it is heard is in the strings. Then, primarily stated in the middle register, we hear it in a wind trio consisting of clarinet, bassoon and horn. The next section is a low rumbling effect where the low strings and bass clarinet make the statement. Lastly, before a quasi-development section, the statement is heard in highest register with the flute, oboe, clarinet, and violins. This last statement peaks and the piece begins to slightly accelerate and make use of eighth notes in a polyphonic exploration in E minor. After this is established the tonality becomes blurred and cadences are delayed. The first violin and flute seem to be behind a couple measures even though they are considered of the fastest instruments in the orchestra. Eventually the orchestra collides and unites again to build strength, but it is of no use because they seem to have hard trouble finding the original tonality. When they final reach the E minor tonality again, they are exhausted and gradually fade away to the final cadence where we hear the two thematic chords simultaneously: strings – E minor, high winds – F major.

Portable smart speakers with wireless connections have in recent years become more popular. These speakers are often moved to new locations and placed in different positions in different rooms, which affects the sound a listener is hearing from the speaker. These speakers usually have microphones on them, typically used for voice recording. This thesis aims to provide a way to compensate for the speaker position’s effect on the sound (so called room correction) using the microphones on the speaker and the speaker itself. Firstly, the room frequency response is estimated for several different speaker positions in a room. The room frequency response is the frequency response between the speaker and the listener. From these estimates, the relationship between the speaker’s position and the room frequency response is modeled. Secondly,an algorithm that estimates the speaker’s position is developed. The algorithm estimates the position by detecting reflections from nearby walls using the microphones on the speaker. The acquired position estimates are used as input for the room frequency response model, which makes it possible to automatically apply room correction when placing the speaker in new positions. The room correction is shown to correct the room frequency response so that the bass has the same power as the mid- and high frequency sounds from the speaker, which is according to the research aim. Also, the room correction is shown to make the room frequency response vary less with respect to the speaker’s position.

A bass enhancement technique using the missing fundamental called VBS is presented. There are Several different approaches for using VBS in different applications. The technique is most useful in speakers that has a poor low frequency capability. It is presented in this report how it can be used for mixing purposes. How can a mix engineer use this technique to get a more balanced mix in laptop speakers without sacrificing the balance in large loudspeakers and headphones? To investigate this question an A/B style listening test is conducted, where the subjects get to answer both quantitative and qualitative questions. The answers are then analyzed using simple t-tests and categorizations of the qualitative information. The results of the test indicate that the mix with VBS is preferred in both the headphones and the laptop. There are no information indicating that the VBS has affected the mix in a poor or good way in the Loudspeakers.

The largemouth bass (Micropterus salmoides) fishery was at an all time low on Lake Okeechobee when experimental supplemental stockings were done to try and enhance local bass populations. Largemouth bass had never been stocked on a large lake like Lake Okeechobee. The objectives were to develop a methodology, study dispersal, and compare stocked versus wild bass habitat choices. The methodology underwent considerable changes between studies. Bass dispersed to the edges by the second sampling period, so a larger sampling area may be needed. Water depth and pH were found to be significantly different between wild and stocked bass. Hatchery bass are naèive about predators, which may have resulted in stocked bass not moving to shallower areas like wild bass. The pH was weakly correlated with depth, so differences may be partially due to the fact that as depth increases, pH may also increase. / by Alyssa Jordan. / Thesis (M.S.)--Florida Atlantic University, 2012. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2012. Mode of access: World Wide Web.

Tese de Mestrado Integrado. Engenharia Civil (Construções). Faculdade de Engenharia. Universidade do Porto. 2013

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Chamber music is a major area of neglect in the study of the double bass, and the instrument has also suffered from a scarcity of chamber music literature written by major composers. As bassists focus predominantly on solo and orchestral repertoire, the purpose of this study is to enrich the double bass literature and increase awareness of chamber music as a tool for bassists to develop as artists by providing a transcription of Johannes Brahms’s Trio in A minor, Op.114 for double bass, clarinet, and piano. The transcription adds to the literature for double bass from the Romantic era, giving players the chance to work on their technical and musical skills in a chamber music setting. In addition, performance of this transcription will enhance double bassists’ understanding of the style of one of the most important nineteenth-century composers.