We have chosen the murine immunoglobulin M (IgM) as system to study glycoprotein biosynthesis and carbohydrate processing. Secreted IgM heavy chain (m) has five glycosylation sites which location and structures have been determined. m chain variable region (VH) is involved in antigen binding, while the constant region (CH) is responsible for the effector functions in which the carbohydrate plays an important role. We have determined the carbohydrate structures present at each glycosylation site of IgM produced by a hybridoma cell line (PC 700) and its derived mutants and compared them to IgM from myeloma cell MOPC 104E. PC 700 mutants secrete altered IgM. The alterations include: deletion of one or more constant domains (mutants: 128, 313, and 562) and m chain hyperglycosylation (mutants 21 and 38). Gene analysis indicated that deletions can arise from two different mechanisms. One of these involve a major gene change (mutant 128), while others come from base point mutations (mutants 313 and 562). Cells 21 and 38 did not appear to have m gene insertions. Determination of purified single glycosylation site structures show that PC 700 m chain is processed only to biantennary. Heavy chain protein fragmentation and carbohydrate studies indicate that mutants 21 and 38 alterations are due to an increase in oligosaccharide processing and reduction of unprocessed structures. There is a trend of processing going from PC 700 < 21 < 38. In addition, our results show how growth cell conditions can affect the carbohydrate processing without altering the determinants of m chain oligosaccharide structures. Studies on the IgM molecule illustrate the need for precisely define structure-function relationships. This would allow the selection of the best antibodies for studies such as those involved in immunotherapy.

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The first chapter outlines the background to the composer's compositional technique. It provides a basis for discussing the definition of folk and traditional music and highlights two differing uses, by other composers, of the folk music idiom within the art music context. The next chapter deals with some particular aspects of composition related to the portfolio works. Techniques such as the use of simultaneous tempi and the application of change ringing systems are discussed. The third chapter focuses on each of the three portfolio works and the final chapter deals with the new areas of composition that have been suggested to the composer by the work on this portfolio. It should be stressed that the second and third chapters should be read in conjunction with the relevant scores.

J.M. Ntsime's short story "Khutsana" is the subject of a narratological analysis in this minidissertation. Using Bal's theory which distinguishes between elements and aspects of a story, this study focuses on the elements of a story, which include events, actors, time and place. Events in "Khutsana" have been identified, arranged in chronological order and organised into eight sequences. The actors have been classified according to the actantial model in order to highlight the relations which exist between the groups of actors. For instance, Segwana and Gabankitse are classified as subjects, and the object of their striving is to care for, and love Lesego. The receiver is often the same person as the subject, that is, Gabankitse and Segwana. More than one actant can occur with the same actor. The sender is in many cases not a person but an abstraction. The opponent-actant is classified as both abstractions and actors. All the helpers show a collective disposition regarding care for and love to Lesego. Two kinds of duration have been determined. namely a crisis period which indicates a short span of time, and a longer developmental period. The location where events happened - in a rural area - is given. In conclusion, this study has shown that Bal's theory can successhlly be applied in a narratological analysis of the Setswana short story "Khutsana". Strachan (1988:6) pointed out that one thing remains to be evident, viz. that the story is the "original" level of the narrative text before the particulars are viewed from a special viewpoint and before it is told by a narrative instance. Events, actors, time and place occur at this level. / Skripsie (MA (Tswana))--PU vir CHO, 1997

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The purpose of this doctoral research is to explore the nature and perception of timescales in electroacoustic music, to examine modes of experiencing time, and to discover a method that uses this knowledge to the advantage of the composer. Although the main focus is on acousmatic works, much of the research presented here has a broader scope and is relevant to music and sound art in general. This thesis is initially inspired by Deleuze’s philosophical views on time to discover relationships between the flow of time and music, and continues to investigate time perception by exploring prevalent theories in the fields of psychology and psychoacoustics. In parallel, it identifies and systematically analyses a set of factors that influence time perception and the formation and segregation of timescales. Theoretical analysis, hypotheses and reasoning were practically tested in the five electroacoustic pieces composed for this particular research. The study revealed and reinforced the importance of psychological time in perception and interpretation of structures in music, developed the idea of using parallel temporal forms in composition, and through an exploration of timescales, it necessitated a redefinition of microsound. Moreover, an analysis of extrinsic and intrinsic factors that affect our perception of time and thus our interpretation of a musical work reinforced the notion of acousmatic music as a holistic experience that comprises all its surrounding elements at the time of listening. This research is useful for both the composer and the analyst because it offers insights into time structures, and a better understanding of the listener’s response to temporal constructs.

This study investigates the reception of women pianists in London in the decade 1950-60, based on reviews published in three music journals, Music and Musicians, Musical Opinion, The Musical Times, and one national daily newspaper, The Times. In the eighteenth and nineteenth centuries, women pianists, both amateur and professional, suffered from the notion that women were innately unable to engage with a superior art form such as music: thus argue scholars including Katharine Ellis, Richard Leppert, Ruth Solie and Judith Tick. Yet, such attitudes did not prevent a strong tradition of women pianists from being formed. In Britain, in the latter part of the nineteenth century, Arabella Goddard was at the forefront of the London musical scene; she was succeeded by Fanny Davies and Adelina de Lara and, later, Dame Myra Hess and Harriet Cohen, whose career successes came in the 1920s. While the situation of women pianists in Britain between the mid-nineteenth century and the late 1920s has been assessed by scholars such as Therese Ellsworth and Dorothy de Val, an in-depth study dealing with the reception of women pianists in post-WWII Britain has yet to appear. This study does not attempt to assess the technical or musical accuracy of the reviews considered; instead, it asks, what were the musical perspectives of the reviewers and, specifically, what were their views on women pianists? First, it presents six important critics, Frank Howes, Clinton Gray-Fisk, Sir Jack Westrup, Andrew Porter, Joan Chissell and Diana McVeagh, all of whom contributed to the four sources cited above. Then it assesses the extent of the prejudice embedded in the reviews examined (written by many more than the six above), which invoke such varied issues as masculinist repertoire and female anatomy. Following this, it examines the careers of six leading women concert pianists of the time: Dame Myra Hess, Harriet Cohen, Eileen Joyce, Gina Bachauer, Margaret Kitchin and Dame Moura Lympany. Their successes reveal the extent to which women musicians of the highest status were considered exempt from the prejudices to which others were subjected. It is hoped that such a study will illuminate aspects of musical life unique to London in the 1950s, partially fill the void in the historiography of women pianists in Britain after Davies, and also alert those women who perform, as well as all who listen and assess women performers, to the complex and often covert issues ‘beyond the notes’.

This research explores the dynamic fabric of experienced space in acousmatic music. The topology of spatial texture is a network of concepts treating music as a flexible, textural space, which deforms, shapes, and transforms in time. A comprehensive terminology is introduced, along with five fixed-media electroacoustic compositions, which exemplify a manifestation of spatial texture in composition and musical thinking. The theory draws from research on the cross-modality of texture perception, philosophical discourse on embodied meaning, physics, psychology of visual art, and discourse on space in acousmatic music. Several different structural perspectives are discussed, which reveal how spatial texture incorporates lower sound-structural levels, materiality, states and processes, motion, global networks and terrains, and relationships between space and time. Emphasis is put on visual and physical connections with spatiality in the acousmatic experience: cogency in spatial structure and dynamics reinforces links among modalities. The concepts and terminology are intended as a contribution to theory in the acousmatic medium, relevant to composition, analysis, and listening. The music represents an aesthetic orientation which emphasises materiality and morphology in texture, transformative processes, spatial design, and spatiotemporal polyvalence.

Sounds are often experienced as being spatially higher or lower in congruence with their frequency ‘height’ (i.e. pitch register). The term ‘spectral spatiality’ refers to this impression of spatial height and vertical depth as evoked by the perceived occupancy of evolving sound-shapes (spectromorphologies) within the continuum of audible frequencies. Chapters One and Two draw upon a diverse body of literature to explore the cognitive and physiological processes involved in human spatial hearing in general, and spectral spatiality in particular. Thereafter the potential pertinence of a spectral space consciousness in the acousmatic listening experience is highlighted, particularly with regard to more abstract acousmatic contexts where sounds do not directly invoke familiar source identities. Chapters Three and Four further elaborate aspects of spectral space consciousness and propose a terminological framework for discussing musical contexts in terms of their spectral space design. Consequently, it is argued that in acousmatic music, spectral spatiality must be considered as an inseparable aspect of spatiality in general, although its pertinence only becomes directly highlighted in particular musical contexts. The recurring theme in this thesis is that, in acousmatic music, 'space' is not a parameter but a multifaceted quality that is inherent to all sounds. As well as providing an analytical framework for discussing spatiality in acousmatic music, this thesis highlights the compositional potentials offered by spectral spatiality, particularly in relation to the creation of perspectival image in multichannel works. For instance, the possibility of (re)distributing the spectral components of a sound around the listener (circumspectral image) is discussed in context, and a software tool is presented that enables an intuitive and experimental approach to the composition of circumspectral sounds for 6 and 8 channel loudspeaker configurations. This thesis is useful for both composers and analysts interested in aspects of spatiality in acousmatic music. It also offers some insight into spectral space consciousness in non-acousmatic music, and may therefore contribute towards a more general understanding of the nature of our spatial experience in music.

Live electroacoustic performance juxtaposes and superimposes two main elements: the real, present and physical, against the simulated and disembodied. In this sense, it is a liminal form which negotiates two different worlds on stage. In this dissertation I will address some central aspects of performance that have been reshaped and problematised by the use of the electroacoustic medium in a live context. I will investigate in particular three main dualities: the performer's body/electroacoustic sound; physical space/electroacoustic space; and performance/audience. I will also discuss a generalised duality common to all three: presence/absence. Rather than regarding these dualities as indicators of discontinuity, I will suggest that they can help develop a continuum of connections and relationships between performance elements. These connections can be designed as part of the composition process. By investigating these dualities, this research addresses the main elements of the live event. The central guiding principle here is that the live electroacoustic mode is a performance discipline, and therefore requires a dramaturgical approach that takes into consideration the elements of the live event: performer, audience and use of space. I will suggest that such an approach should guide the creative process, starting at the initial composition stages, through rehearsal and the actual performance.