John Cage ¡]1912-1992¡^, American composer who received most attention on the development of 20th century music. His new concepts of music transformation gave tremendous influence to the 20th century music development. In 1940, Cage was invited to compose for dance, in the process, he applied the experience of studing with Henry Cowell; completed the first prepared piano work, Bacchanale. The apex of composing prepared piano works was from 1942 to 1952. Cage all together composed twenty pieces for prepared piano. Prepared piano is a concept that changes the timbre and pitches of traditional piano by insert some preparations, like bolts, screws, rubbers or woods into the strings. According to the material quality, these preparations that Cage used including five types, hardware, woods, rubbers, plastics and clothes. We can make piano to produce timbre like percussions through these preparations. Besides introduction and conclusion, this research consists of three parts. Part one discusses the development of avant-garde and non-traditional piano techniques in America in 20th century. Part two discusses Cage¡¦s life to realize the multiformity of his composition ideas. Part three discusses the origination of prepared piano, and takes Mysterious Adventure as example to explore the type materials of preparation and the similarities with gamelan music.

Reproduction de : Thèse d'exercice : Médecine vétérinaire : Toulouse 3 : 2007. / Titre provenant de l'écran titre. Bibliogr. p. 225-234.

Thesis (M.M.) Florida State University, 2007. / Advisor: Denise Von Glahn, Florida State University, College of Music. Title and description from dissertation home page (viewed 3-14-2008). Document formatted into pages; contains 56 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (Ph.D.)--Tennessee Technological University, 2006. / Bibliography: leaves 447-460.

Th. doct.-ing.--Électrotech.--Grenoble--I.N.P., 1981. N°: DI 225.

Light, Space, Color, and texture are elements often used in the construction of Architectural composition. This thesis is about adding sound (noise) to that palette. / Master of Architecture

Lake Malawi is a great lake not only because of its size (30,800 km2) but also because of its unique fish diversity. The lake contains the highest number of freshwater fish species in the world. The fish species are hypothesized to have radiated within the lake, which is 1-2 million years old. The collapse of the capture fishery in Lake Malawi between the 1970s and 1990s led to the launch of cage culture of indigenous fish species in 2004 in the south east arm of the lake. While cage culture has been practiced for many years in temperate lakes and seas, the fish farm in Lake Malawi is the first in the African Great Lakes and, therefore, not much information currently exists that is relevant to the impact of cage culture on such a large, species-rich tropical lake. Consequently, a study was done between January and December, 2007, at the fish farm in Lake Malawi to determine potential impacts of cage wastes on the environment. The study found that, just like in temperate systems where 70-87% of C, N and P added through feed get dispersed into the environment, discharges from fish cages in Lake Malawi were between 71-88% of the nutrients added through feed. The discharges were proportional to the amount of feed added so that as production and feed supply increase over time, more cage wastes would be generated and released into the environment. The discharges were exacerbated by poor stocking and feeding regimes. Production periods were longer (mean of 376±42 days) than if recommended stocking and feeding rates were followed. Feed quality may also have affected production performance and waste generation in the cages, but was not studied. The cage wastes were incorporated into the food web and support the wild fishes in the vicinity of the fish farm. Impacts of the cage wastes on the water column and sediments in the vicinity of the cages were minimal during the study period, probably because of rapid and efficient dispersion of the wastes by strong water currents, that averaged 9.3 cm s-1, through the cages and high consumption of the cage wastes by large numbers of wild fishes which aggregated around the cages. The wild fishes also helped to disperse the cage wastes over a larger area through consumption, translocation and defecation. However, as production increases, the amount of cage wastes generated may overwhelm mitigation by dispersion by water currents and consumption by wild fishes, particularly if many cages are deployed close together and interfere with current flows. Based on my observations, a fish farm that produces 15,000 tonnes fish/yr in Lake Malawi would generate 1249, 113 and 21 megamoles/yr of C, N and P, respectively, that are comparable or higher than DOC, TDN and TDP loadings observed in the most disturbed large river systems draining into Lake Malawi. The impacts of these river systems in Lake Malawi have been well documented, particularly around river mouths and in the more densely populated and shallower southern portion of the lake, where algal communities and their sedimentation rates have begun to change. Cage culture discharges may accelerate these changes.

Lake Malawi is a great lake not only because of its size (30,800 km2) but also because of its unique fish diversity. The lake contains the highest number of freshwater fish species in the world. The fish species are hypothesized to have radiated within the lake, which is 1-2 million years old. The collapse of the capture fishery in Lake Malawi between the 1970s and 1990s led to the launch of cage culture of indigenous fish species in 2004 in the south east arm of the lake. While cage culture has been practiced for many years in temperate lakes and seas, the fish farm in Lake Malawi is the first in the African Great Lakes and, therefore, not much information currently exists that is relevant to the impact of cage culture on such a large, species-rich tropical lake. Consequently, a study was done between January and December, 2007, at the fish farm in Lake Malawi to determine potential impacts of cage wastes on the environment. The study found that, just like in temperate systems where 70-87% of C, N and P added through feed get dispersed into the environment, discharges from fish cages in Lake Malawi were between 71-88% of the nutrients added through feed. The discharges were proportional to the amount of feed added so that as production and feed supply increase over time, more cage wastes would be generated and released into the environment. The discharges were exacerbated by poor stocking and feeding regimes. Production periods were longer (mean of 376±42 days) than if recommended stocking and feeding rates were followed. Feed quality may also have affected production performance and waste generation in the cages, but was not studied. The cage wastes were incorporated into the food web and support the wild fishes in the vicinity of the fish farm. Impacts of the cage wastes on the water column and sediments in the vicinity of the cages were minimal during the study period, probably because of rapid and efficient dispersion of the wastes by strong water currents, that averaged 9.3 cm s-1, through the cages and high consumption of the cage wastes by large numbers of wild fishes which aggregated around the cages. The wild fishes also helped to disperse the cage wastes over a larger area through consumption, translocation and defecation. However, as production increases, the amount of cage wastes generated may overwhelm mitigation by dispersion by water currents and consumption by wild fishes, particularly if many cages are deployed close together and interfere with current flows. Based on my observations, a fish farm that produces 15,000 tonnes fish/yr in Lake Malawi would generate 1249, 113 and 21 megamoles/yr of C, N and P, respectively, that are comparable or higher than DOC, TDN and TDP loadings observed in the most disturbed large river systems draining into Lake Malawi. The impacts of these river systems in Lake Malawi have been well documented, particularly around river mouths and in the more densely populated and shallower southern portion of the lake, where algal communities and their sedimentation rates have begun to change. Cage culture discharges may accelerate these changes.

The purpose of this study is improve the cage net volume deformation during typhoon attacking. A special bottom collar system is to substitute the sinkers system. The Research contents include the numerical development and the hydrodynamic physical model test in a wave tank. The numerical model is based on the lumped mass method to set up the equation of motion of the whole cage net system; meanwhile the solutions of equation have been solved through the Runge-Kutta fifth order method. The hydrodynamic physical model tests have been carried out to verify the goodness of the numerical model. The research results are as follows. The sinker system¡¦s numerical model simulation indicates that the error of the maximum tension at anchor is about 4.54% higher than the physical model results, and the error of net deformation rate is about 8.04% higher. While the bottom collar system¡¦s numerical model simulation indicates that the error of the maximum tension at anchor is 6.34% lower than physical model results, and the error of net deformation rate is 3.82% lower. The physical model show that the minimum side projection area deformation rates of net in the bottom collar system is about 4~6% higher than the sinker system¡¦s. According to the conclusions of this study, the presented numerical model is capable to predict the whole cage net system performance and indicates that the bottom collar system is practically feasible in improving the cage net volume deformation.

Une recension exhaustive des références à la musique et au sonore montre l’importance de cet art dans la production philosophique de Gilles Deleuze et Félix Guattari. La présente recherche se concentre sur la position occupée par la pensée musicale de John Cage dans certains de ces textes. La période créative de Cage située entre 1939 et 1952, se focalise sur deux aspects principaux : la structure micro-macrocosmique caractéristique de ces premiers travaux, et les quatre éléments qui synthétisent alors pour Cage la composition musicale. Ces derniers sont considérés en rapport avec la théorie de la double articulation que Deleuze et Guattari reprennent de Hjelmslev ; les deux aspects renvoient au système des strates et de la stratification exposé dans Mille plateaux. La musique des décennies centrales de la production cagienne, à la lumière du passage de Mille plateaux où l’œuvre de Cage est mise en rapport avec le concept de « plan fixe sonore ». Une attention particulière est donnée à la manière dont Cage conçoit le rapport entre la durée et les matériaux sonores, et au degré variable de présence du hasard et de l’indétermination. Les compositions de cette période sont en outre vues en référence au concept deleuzo-guattarien de cartographie. Les derniers quinze ans de la production de Cage sont analysés à travers le concept de rhizome entendu comme théorie des multiplicités. La partition de Sylvano Bussotti qui figure au début de Mille plateaux ainsi que les travaux textuels et musicaux de Cage, les procédures compositionnelles des mésostiches, des parenthèses de temps qui créent une structure variable, et l’harmonie anarchique du dernier Cage sont également explicités. / On the basis of a exhaustive identification of the references to music and sound in the philosophical production of Gilles Deleuze and Félix Guattari, the present research concentrates on the position occupied by John Cage’s musical thought in a number of deleuzian texts. The first chapter analyses the works composed by Cage between 1939 and 1952, focusing on two principal aspects: the micro-macrocosmic structure that characterises his first works, and the four elements that resume Cage’s approach to composition in the period in question. The latter are considered in relation to Hjelmslev’s theory of double articulation as elaborated by Deleuze and Guattari; both aspects are referred to the system of strata and stratification found in A Thousand Plateaus. The second chapter is dedicated to the compositions of the central decades of Cage’s production, in the light of the passage of A Thousand Plateaus in which Cage is considered in relation to the concept of a “fixed sonorous plane”. Particular attention is given to the way in which Cage conceives the relation between duration and sound materials, and to the variable degree to which chance and indeterminacy are present. The compositions of this period are furthermore seen in reference to the deleuzo-guattarian concept of cartography. The last fifteen years of Cage’s production are studied through the theory of multiplicity and the concept of rhizome. The score composed by Sylvano Bussotti that appears at the beginning of A Thousand Plateaus is therefore considered, followed by an examination of Cage’s late textual and musical works, giving particular attention to mesostics, time brackets and variable structure, and anarchic harmony.