LL.M. (Human Rights Law) / Figures released recently by the South African Department of Environmental Affairs indicate that rhino are being poached in South Africa at an alarmingly high rate, meaning that they are being used like a never-ending commercial resource. It has been debated in South Africa that, if legal trade in rhino horn were to be introduced, it may be a solution to curbing rhino poaching. There are animal rights views that condemn the use and exploitation of nonhuman animals for the financial gain of human beings, one of the foremost rights views being that of Tom Regan. In his view, he proposes ways in which nonhuman animals can be perceived as more than just commercial resources. He elaborates on how nonhuman animals can be regarded as beings in their own right with a unique value that entitles them to respectful treatment and, at the very least, protection from harm and cruel treatment. Analyses and arguments made in this dissertation are not rooted in what the economic consequences of having trade in rhino horn would be. They are rooted in morality and in law to demonstrate why trade should be seen as a solution that is a last resort to curbing rhino poaching. The first chapter of this dissertation concerns itself with unpacking the central tenets and principles of Regan’s rights view in the context of how nonhuman animals can be regarded as beings rather than resources. The second chapter provides an analysis of approaches in environmental ethics that are relevant for preserving the rhino for future generations and how this could be achieved with reference to Regan’s rights view. The third chapter deals with the application of Regan’s rights view to legal and illegal trade in rhino horn. This will also include evaluation of plausible methods for securing rhino horn that are available in the event that legal trade in rhino horn is accepted as a solution to the current rhino poaching situation in South Africa.

The oboe and English horn works of Ross Edwards are fascinating and challenging to oboists of all abilities. However, Edwards' works have received little recognition beyond Australia. These pieces can be used to expose students to non-European influences in music, especially that of Aboriginal Australians. These works deserve to be considered part of the standard repertoire of an oboist due to their musical and technical demands and their position in the repertoire of the 20th and 21st centuries. Modern Australian music history can be traced back to the time the English first colonized the continent. After that time, the country began its journey toward musical independence from England eventually leading to a uniquely Australian sound. Born in 1943, Ross Edwards is a contemporary Australian composer that has identified his music as Australian. He acknowledges several outside sources in his music, from Australian Aboriginal to the distilled sounds of nature from the Australian Outback. Edwards has created his own musical style, utilizing distilled musical fragments later named icons, and system he uses to compose his works. It is through an understanding of where Australia's musical heritage begins, and how it develops, that we may gain a greater knowledge of contemporary Australian composers like Ross Edwards. This study demonstrates the importance of Ross Edwards' music in the development of an Australian sound through historical context and the analysis of his oboe and English horn works.

This thesis is focused on a wireless link operating in 60 GHz frequency band. In this band, the attenuation due to resonance of oxygen is high. Thanks to this property, we are able to ensure a proper insulation of communication links working in two close bands. The document compares commercially available modules of offered by different manufacturers for the operation in this band. The design, the simulation and the fabrication of a antenna and its feeder are described in the next part of the thesis. The system is fabricated using a SIW technology.

This master's thesis deals with a design of a planar parabolic reflector antenna. The thesis is divided into several parts. The first section is dedicated to the theory of the parabolic antenna design and a basic introduction of the SIW technology which is used for the realization of an antenna prototype. The second chapter deals with the design of individual parts of the antenna (i. e. a primary and secondary reflector and an antenna feeder excited by a waveguide) for particular assignment. The third part is focused on modeling the designed antenna using ANSYS HFSS. Other parts of the thesis include a conversion of the proposed antenna to the SIW technology and a design of a transition between the antenna and a feeding waveguide WR15. The last part of the thesis deals with measuring of the reflection coefficient and the radiation pattern of the fabricated antenna prototype.

Detta arbete behandlar kompositören Paul Hindemith och reflekterar över hans unika tonspråk. Stycket som analyserats i denna studie för att lära känna hans utmärkande stildrag är hans Sonat för horn och piano som han komponerade 1939. Syftet med uppsatsen är att bekanta sig med hans tonspråk med hjälp av att analysera de två första satserna i sonaten, gå igenom hans musikteoretiska principer, verktyg och metoder samt att skapa en klar uppfattning om vem Paul Hindemith var som person. Biografin är uppdelad i två kapitel för att skilja på vem han var som kompositör och vem han var som människa och musiker för att lättare kunna redogöra varför han valde att komponera som han gjorde. Informationen om hans liv är hämtad från den biografi man sammanställt via en stiftelse som skapats efter hans hustrus bortgång. Det är även kompletterat med andra källor för att kunna ge en klarare bild på de stilar han arbetade med. Kompositören skrev en musikteoribok The Craft of Musical Composition (1937) som han både hade som grund för sitt eget komponerande samt i utbildningssyfte vid sina professorstjänster. Några av dessa teorier och verktyg presenteras i uppsatsen och de appliceras även i en analys av hans hornsonat. Slutsatsen reflekterar över hur man kan påverkas av att läsa på om människan bakom musiken samt kompositörens teorier och att i den processen ändra åsikt om samt uppskatta ett speciellt tonspråk. / <p>Paul Hindemith: Sonat för horn och piano (1939)</p><p>I Mässig Bewegt</p><p>II Ruhig Bewegt</p><p>III Lebhaft</p>

Contemporary music for horn often requires techniques and musical or notational considerations that are unconventional with respect to the standard pedagogy of the instrument. As such, these considerations often represent a level of challenge to which the average-intermediate to advanced-hornist is unprepared to approach or altogether unfamiliar. The most prominent of these demands arising in the last few decades of the twentieth century through today include microtonality (such as extended just intonation and quarter tones), extended techniques in combination or juxtaposition (such as multiphonics and right hand technique), rhythmic complexity (including metric modulation, non-dyadic meters, additive rhythms, and nested tuplets), and unconventional notations (graphic, spatial, and other temporal notations). This document first surveys the challenges of the repertoire in question, which includes works by György Ligeti, Thea Musgrave, Milton Babbitt, Brian Ferneyhough, Iannis Xenakis, Heinz Holliger, and Douglas Hill, among others. After considering the merits and limitations of existing pedagogical materials that work towards these ends, the document then underlines a strategic pedagogical goal for understanding and approaching unconventional contemporary repertoire through newly-composed etudes. This document is written in conjunction with and justification for the author's 24 Unconventional Etudes for Horn, and includes examples therefrom.

Ludwig van Beethoven (1770-1827) skrev 1800 sin sonat för valthorn op. 17 åt den legendariske hornisten Giovanni Punto (1746-1803). Vi har länge vetat att stycket egentligen är skrivet för naturhorn men vad det egentligen innebär har för många hornister inklusive mig själv länge varit relativt oklart. Det jag har försökt lyfta i denna studien är hur viktigt det egentligen är för tolkningen att man tar hänsyn till vilket instrument stycket är komponerat för. För att genomföra detta har jag använt en stor mängd litteratur om både kompositören och samtida hornister och läroböcker av hornister som levde kring årtalen som verket komponerades. Resultatet visar en insikt i många positiva aspekter med att använda sig av ett naturhorn men även problem som uppstår då man väljer att tolka stycket på detta viset. Det som blivit uppenbart är att man inte nödvändigtvis måste spela stycket på naturhorn utan att man kommer ganska långt med en medvetenhet om hur stycket skulle ha fungerat på ett naturhorn. / <p>Ljudfil Beethoven hornsonat op 17. Joel Jaakkola naturhorn och Johan Ullén piano. </p>

C-Partitur und 9 Stimmen, einsätzig, Spieldauer: 5 Min.:

Endomorphin 1 and 2 are two tetrapeptides recently isolated from bovine as well as human brains and proposed to be the endogenous ligand for the μ- opiate receptor Opioid compounds expressing μ-receptor preference are generally potent analgesics. The spinal cord dorsal horn is considered to be an important site for the processing of sensory information including pain. The discovery that endomorphins produced greater analgesia in mice upon intrathecal as compared to intracerebroventricular injections raises the possibility that dorsal horn neurons may represent the anatomic site upon which endomorphins exert their analgesic effects. We report here the detection of endomorphin 2-immunoreactive fiber-like elements in superficial layers of the rat dorsal horn by immunohistochemical techniques. Whole-cell patch recordings from substantia gelatinosa neurons of cervical spinal cord slices revealed two conspicuous effects of exogenously applied endomorphin 1 and 2: (i) depression of excitatory postsynaptic potentials evoked by stimulation of dorsal root entry zone, and (ii) hyperpolarization of substantia gelatinosa neurons. These effects were reversed by the selective μ-opiate receptor antagonist β-funaltrexamine. Collectively, the detection of endomorphin-like immunoreactivity in nerve fibers of the superficial layers and the inhibitory action of endomorphins on substantia gelatinosa neurons provide further support for a potential role of these two peptides in spinal nociception.

Nociceptin, also referred to as orphanin FQ, is believed to be the endogenous ligand for the ORL1. Nociceptin, when injected intracerebroventricularly to mice, produced hyperalgesia in behavioral tests. Recent studies have demonstrated the presence of ORL1 transcript in the spinal cord, and ORL1-like immunoreactivity has been localized to nerve fibers and somata throughout the spinal cord. Here, we report the localization of nociceptin-like immunoreactivity to fiber-like elements of the superficial layers of the rat dorsal horn by immunohistochemical techniques. Whole-cell recordings from substantia gelatinosa neurons in transverse lumbar spinal cord slices of 22-26-day-old rats showed that exogenous nociceptin at low concentrations (100-300 nM) depressed excitatory postsynaptic potentials evoked by stimulation of dorsal rootlets without causing an appreciable change of resting membrane potentials and glutamate- evoked depolarizations. At a concentration of 1 μM, nociceptin hyperpolarized substantia gelatinosa neurons and suppressed spike discharges. The hyperpolarizing and synaptic depressant action of nociceptin was not reversed by the known opioid receptor antagonist naloxone (1 μM). Our result provides evidence that nociceptin-like peptide is concentrated in nerve fibers of the rat dorsal horn and that it may serve as an inhibitory transmitter within the substantia gelatinosa.