Achieving agreement about whether and how to control greenhouse gas emissions would be difficult enough even if the consequences were fully known. Unfortunately, choices must be made in the face of great uncertainty, about both likely climate effects and the costs of control. Because several of the greenhouse gases have residence times of decades to centuries, any economic and environmental consequences are for practical purposes irreversible on those time scales. On the other hand, the commitment of resources to emissions control also has an irreversible aspect: investment foregone leaves a permanent legacy of reduced human welfare. Neither of the extreme positions, to take urgent action now or do nothing awaiting firm evidence, is a constructive response to the climate threat. Responsible treatment of this issue leads to a difficult position somewhere in between. / Includes bibliographical references (p. 32-34). / Abstract in HTML and technical report in HTML and PDF available on the Massachusetts Institute of Technology Joint Program on the Science and Policy of Global Change website (http://mit.edu/globalchange/www/).

by W.G. Tuller. / "March 8, 1946." "NDRC Division 14." / Army Signal Corps Contract No. W-36-039 sc-32037. Contract OEMsr-262.

No description available.

Symphony for Wind Ensemble is written for piccolo, 2 flutes, 2 oboes, English horn, E-flat clarinet, 3 B-flat clarinets, bass clarinet, contrabass clarinet, 2 bassoons, 2 E-flat alto saxophones, B-flat tenor saxophone, E-flat baritone saxophone, 4 horns in F, 2 comets, 4 B-flat trumpets, 3 trombones, tuba, string bass, and 6 percussion lines that include: timpani, xylophone, castanets, vibraphone, chimes, 2 suspended cymbals, crash cymbals, triangle, snare drum, tambourine, tenor drum, crotales, bass drum, guiro, and tom toms (high, medium high, medium low, and low). The piece is comprised of three main themes: a rhythmic, harmonic, and a melodic theme. Formally, the symphony is in a complex ternary form with an introduction, transitions, and coda. While the symphony is not tonal, particular attention is given to open fifths, and scales that do not have an open fifth above the tonic, such as the Locrian, or the whole-tone scales. / School of Music

No description available.

Cindy McTee's Symphony No. 1: Ballet for Orchestra is composed primarily of pitch materials from the octatonic collections that contain both diatonic and non-diatonic relationships in the themes, harmonic content, and larger structure of the symphony. Because the octatonic collections contain the potential for both diatonic and non-diatonic relationships, the piece is argued to have octatonic structure, as the octatonic collection is capable of producing both relationships. The second chapter contains a review of the literature, focusing particularly on the work of Arthur Berger, Pieter C. van den Toorn, Richard Taruskin, and Allen Forte. Next, the octatonic structure of the symphony is shown in the thematic material. Finally, the harmonic support and large-scale structure of the piece are shown to contain octatonic relationships as well.

No description available.

Liszt was distinguished as the most important virtuoso in the Romantic period of music history, whose Weimar period between 1848 and 1861 was the time of Liszt¡¦s golden age of composition. The Mephisto Waltz No.1, finished in 1860, was based on the second episode The Dance in the Village Inn from Nikolaus Lenau¡¦s poem ¡§Faust.¡¨ Exercising the virtuosic elements and thematic transformation technique, Liszt combined both literature and musical ideas in the Mephisto Waltz No.1 successfully. This work remains one of the most popular works on today¡¦s piano recital repertoire ever since. This research consists of two parts. Part one discusses the characteristics of Liszt¡¦s compositions, with a focus on how Liszt¡¦s style was influenced by the nineteenth century virtuosity. Part two analyzes Mephisto Waltz No. 1 by exploring its historical background, formal structure, and the techniques of thematic transformation. The corresponding pianistic techniques are summarized from the various sources of scholarly suggestions as the conclusion of this analysis.

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Natropalermoite, ideally Na2SrAl4(PO4)(4)(OH)(4), the Na-analogue of palermoite, is a new mineral from the Palermo No. 1 mine, Groton, New Hampshire, USA. Associated minerals are palermoite, eosphorite and quartz. Natropalermoite crystals are prismatic with striations parallel to the direction of elongation (the a axis) up to 200 mu m x 50 mu m x 45 mu m in size. The mineral is colourless, transparent with a white streak and vitreous lustre and is visually indistinguishable from palermoite. It is brittle with subconchoidal fracture and has a Mohs hardness of 5.5. Cleavage is perfect on {001}, fair on {100} and no parting was observed. The calculated density is 3.502 g cm(-3). Natropalermoite is biaxial (-), alpha = 1.624(1), ss = 1.641(1), gamma = 1.643(1) (589 nm), 2V(meas) = 43(4)degrees, 2V(calc) = 38 degrees. An electronmicroprobe analysis yielded an empirical formula (based on 20 O apfu) of (Na1.69Li0.31)(Sigma 2.00) (Sr0.95Mg0.04C a(0.02)Ba(0.01))(Sigma 1.02) (Al3.82Mn0.03Fe0.03)(Sigma 3.88) (P1.01O4)(4)(OH)(4). Natropalermoite is orthorhombic, space group Imcb, a = 11.4849(6), b = 16.2490(7), c = 7.2927(4) angstrom, V = 1360.95(17) A(3), Z = 4. Natropalermoite is isotypic with palermoite, but substitution of the larger Na for Li results in substantial increase of the b cell parameter. Four of the seven Na-O distances are longer than their equivalents in palermoite, resulting in a more regular 7-fold coordination polyhedron about Na. The eight strongest peaks in the calculated X-ray powder diffraction are [d(calc) (angstrom), I-rel%, (hkl)]: [3.128, 100, (321)], [4.907, 68, (121)], [3.327, 48, (022)], [4.689, 45, (220)], [3.078, 45, (202)], [2.453, 38, (242)], [2.636, 35, (411)], [2.174, 35, (422)].