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I-10Sigler, Andrew Lloyd 21 July 2014 (has links)
I-10 is a multi-movement song-cycle inspired by the I-10 corridor as it passes through southern Louisiana and its impact on my life. I grew up in Lake Charles, spent nine years in Lafayette, and made countless trips to New Orleans in my youth, and I-10 looms as a character in my life as well as the lives of those around me. Once into Louisiana on an eastward trajectory, the Interstate changes dramatically. No longer in the dry, hot desert, the freeway enters the humidity of southern Louisiana, passing over swamps and lakes en route to New Orleans. I was always struck by the exits. They begged to be characters, and I use these as points of departure for this work. I've also drawn freely from the culture of southern Louisiana, its shape determined by I-10 as much as mine. A cycle of 6 songs orchestrated for four voices, guitar, electric bass, drums, percussion, and chamber orchestra, I present this work as an "album" of sorts with each song leading to the next and working together as a cohesive whole. / text
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Playing around the real : games, play, and the declamation dynamic in ancient and modern rhetorical pedagogyWiese, Hugh Clevenger 30 September 2014 (has links)
This dissertation reassesses declamation, a pedagogical exercise that was prominent in the rhetoric schools of ancient Greece and Rome but that is now, by many accounts, a mere historical artifact. On the contrary, this dissertation presents declamation as the source of an essential and ongoing dynamic that not only survives but actually underlies much of what continues to take place in contemporary rhetoric classrooms. As such, this dissertation is not only about ancient declamation itself, but about a "declamation dynamic" -- what Wittgenstein might have called a "family resemblance" -- that is essential to any form of rhetorical instruction, particularly approaches that involve games, performance, and role-playing. This dynamic is traced to its ancient roots, and the argument is made that the study and reevaluation of this type of ancient exercise will give contemporary rhetoric teachers a clearer view of their own practices and better equip them to instill modern students with that most enduring of rhetorical values, habitus -- the ability to intuitively grasp the constructed and contingent nature of any rhetorical situation and to adapt accordingly. / text
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Some visceral proteases of albacore tuna fish (Thunnus alalunga)Sullivan, Daniel Park 28 April 1976 (has links)
The proteolytic enzymes in the visceral organs of albacore tuna
fish (Thunnus alalunga) were studied, initially as an extract of the
whole viscera, then as extracts of the individual organs. Preliminary
studies indicated three pH optima of activity in the whole viscera
extracts pH 1.7, 3.1-3.5 and 9.5. Analysis of extracts of the individual
organs revealed the alkaline proteolytic activity was present in the
intestine and the pyloric caeca, with the pyloric caeca showing the
highest activity. The stomach extract demonstrated high protease
activity at pH 1.7 and 3.5, while the remaining organs had relative
activities at least ten times lower at these pH values.
The extract obtained from pyloric caeca was studied in more detail.
The approximate levels of trypsin-1ike and chymotrypsin-like activities
were measured, and the effects of three inhibitors, phenylmethylsulfonylfluoride
(PMSF), l-chloro-3-tosylamido-7-amino-L-2-heptanone (TLCK) and
L-1-tosylamide-2-phenylethylchloromethylketone (TPCK), determined.
Cationic discontinuous polyacrylamide gel electrophoresis coupled with a
substrate inclusion technique for localization of the separated proteases
of the pyloric caeca extract revealed the presence of ten proteolytic enzymes. One was active in acid solution (ca. pH 4) and was inhibited
by PMSF and TLCK. The remaining nine proteases were active at pH 8.0.
Five of the alkaline proteases were serine proteases and one of these
showed trypsin-like specificity including PMSF and TLCK inhibition
and activity against BANA. None of the electrophoretically separated
proteases showed specificities similar to chymotrypsin. / Graduation date: 1976
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Proanthocyanidin content of bananas at three stages of ripenessWhite, Edna 09 May 1969 (has links)
The purpose of this study was to determine the proanthocyanidin
content of bananas at the green, the ripe,
and the overripe stages. Three bananas from each of three
hands at each stage of ripeness, making a total of 27
bananas, were freeze-dried. The ground tissue was dispersed
in methanol and the proanthocyanidin in the slurry
was converted to anthocyanidin by heating in 0.8 N
HCl-n-butanol containing iron (FeSO₄ . 7H₂0). The major
anthocyanidin was identified as delphinidin with a minor
pigment as cyanidin. Two sub-samples of each banana were
analyzed in triplicate and the absorbance of anthocyanidin
was read at a wavelength of 545 mμ.
The proanthocyanidin content, expressed as milligrams
of delphinidin chloride per gram of dried banana, averaged
19.7 for the green, 16.0 for the ripe, and 13.7 for the
overripe. Differences in the proanthocyanidin content of
the bananas due to ripeness were statistically significant. Moisture content averaged 71.3% for the green, 73.0% for
the ripe, and 74.9% for the overripe. Proanthocyanidin
content on a fresh weight basis, expressed as milligrams
of delphinidin chloride per gram of banana, averaged 5.63,
4.33, and 3.44 for the green, ripe and overripe, respectively.
The proanthocyanidin content of the bananas in this
study was considerably higher than values previously reported.
Analysis of the pulp rather than the extractable
proanthocyanidin and a more acidic developer and one which
contained iron were major factors contributing to the
higher values.
While the proanthocyanidin content decreased significantly
with ripeness of the bananas, two other groups of
workers reported decreases that were proportionately
greater. Their data was based on extractable proanthocyanidin
and polymerization of these compounds as the fruit
ripens could account for their lower values. Conversion
of unextractable polymers in the pulp to soluble anthocyanidin
could account for the higher values in the present
study.
A high proportion of the variance for treatment mean
was due to hand and relatively little due to banana on the
hand, suggesting that fewer bananas from more hands could
have been analyzed. A better method than skin color for
assessing ripeness is suggested. / Graduation date: 1969
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Extrusion processing of sweet potatoNamutebi, Agnes Ssekaalo January 2002 (has links)
No description available.
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Figured bass accompaniment at the harpsichord in its social and artistic contextNg, Kah-Ming January 2001 (has links)
No description available.
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Something to Be Happy About: Solo for Tenor Pan and OrchestraUnknown Date (has links)
Something To Be Happy About: Concerto for C Tenor Pan and Orchestra is the first concerto for orchestra and steel drum to be composed in American. Divided into three movements, this 18 minute work is scored to capitalize upon the nuances of the C Tenor Pan and to provide a solid piece for the new wave of pan musicians that are clamoring for music written for the instrument. / A Thesis submitted to the Department of Theory and Composition in partial fulfillment of the requirements for the degree of Master of Music. / Spring Semester, 2003. / April 15, 2003. / Musical Composition / Includes bibliographical references. / Mark Wingate, Professor Directing Thesis; Peter Spencer,, Committee Member; Evan Jones,, Committee Member.
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Effects of soil texture on soil consistenceIbanga, Iniobong Jimmy January 2010 (has links)
Digitized by Kansas Correctional Industries
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Heave, Sway, SurgeDavancens, Joseph 16 April 2019 (has links)
<p> <i>Heave, Sway, Surge</i>(2014–19) is a musical composition for nine instruments that attempts to evoke the subjectivity of a body in motion by deploying sound-mass textures that rely on transitional acoustic states. It uses motion and force as its musical material and a system of notation in which acoustic parameters are represented vertically against horizontal time, with line segments plotting their continuous values; and shows discrete positions and configurations as tablature. The production of the score relied on a suite of software tools that formalizes musical materials, compositional processes and score structures in an object-oriented fashion, and typesets a score in PDF format for digital distribution and printing. This essay provides historical context for my aspirations with this work, discusses the modeling of instrumental performance parameters, details he notation system designed for the score, describes the architecture and development process of the software, and illustrates the decisions involved in the composition of the work.</p><p>
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Selected instrumental and electronic works: in Noise, Nighttide from the Shore, Erinyes, Let's Say China, and Beyond HereJanuary 2019 (has links)
archives@tulane.edu / 1 / Stephen Montalvo
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