This study is based on the premise that modern day performances of late Renaissance sacred music are informed more by biases and assumptions concerning performance practice rather than on information gleaned from the primary sources. The result is homogeneity in performance practice within this body of literature which is in direct contradiction to the primary sources. Four controversial areas of performance practice, vibrato, text expression techniques, ornamentation and doubling instrumentation, are investigated in this document in the context of four motets by Luca Marenzio (1553-1599). Findings from primary sources contemporary to Marenzio's time that relate to these four performance practice areas are closely examined and reinterpreted, and suggestions are given for historically informed application of these findings to contemporary choral performance settings. This examination of primary sources indicates that each of Marenzio's motets constitutes its own "soundscape" with a unique set of attendant performance practices, which has great implications for performances of late Renaissance sacred music as a whole.

acase@tulane.edu / A comprehensive understanding of sexual dichromatism and sexual selection depends on understanding selective pressures on females, which may differ from those experienced by males. Conventional theory suggests that ornamentation in females evolves as the byproduct of selection pressures on males, and is non-adaptive. My dissertation challenges this assumption through a series of linked studies related to female ornamentation in a species of tropical passerine bird, the White-shouldered Fairywren (Malurus alboscapulatus), of New Guinea. The White-shouldered Fairywren is ideally suited to evaluate the evolution of female ornamentation, because populations are characterized by divergence in female plumage coloration from brown (unornamented) to black-and-white (ornamented), with no variation in males, which are uniformly black- and-white. My thesis research employed field-based observation and experimentation with contemporary genomic, endocrine, and microscopy techniques to identify proximate mechanisms, current adaptive function, and evolutionary history of female ornamentation in this system. / 1 / Erik Enbody

This report is a compilation of the influences that shape my current work. In this written representation of my process I mimic how ideas overlap and collide, rather than taking a chronological approach to my development over the past three years. The role of ornament to engage contemporary viewing is a dominant theme, in both my work and the report. I approach painting as an attempt to understand contemporary visual culture and how we look at objects today. My paintings rely on ornament as an entrance into exploring aesthetics and my personal history. / text

The spores of Dryopterioideae from Taiwan were studied with scanning electron microscope. Eight genera and 45 species were observed. The spores were monolete and ellipsoidal to somewhat global. The spore macro-ornamentations were mostly rugate, tuberculate, cristate and reticulate, few are echinate. Surface micro-ornamentations observed were granulate, echinulate, fenestrate, sharp columellate, scale, and rugate. Based on observed spore ornamentation similarities and differences, the following points toward current different classification systems can be made: The echinulated spore ornamentation found in Tectaria and Dryopsis were quite different from others being studied and this result supported that Dryopterioid ferns are different from Tectarioid ferns. Lastreopsis have similar spore ornamentation with genera in Dryoterideae, but not Tectarioid ferns. The result agreed with molecular data but not traditional classification. Few species of Dryopteris had their distinct spore ornamentations and may be better classified into a subgenus in Dryopteris. One group of Polystichum had spore ornamentation quite different from other groups and this group may be classified into a subgenus of Polystichum. The spore ornamentations support that Cyrtomium be included in Polystichum.

The performance of opera arias composed by George Frideric Handel in our modern day is complicated by the necessity of including improvised embellishments, which were a standard component of the eighteenth-century genre of opera seria. Furthermore, discussions concerning the concepts of historical authenticity and performance practice muddle the issue of preparing Handel's music for presentation. In recent years scholars have prepared ornamented versions of select Handel arias in consultation with eighteenth-century performance practice treatises and other contemporary materials that provide considerable insight into the purpose and execution of ornamentation in performances Handel himself oversaw. What remains relatively unexplored, however, is the relationship between eighteenth-century embellishments and the Baroque affections, or passions. The affections, or passions, were rationalized emotional states derived from the Greek and Latin doctrines of rhetoric and oratory which Baroque composers sought to evoke and express in their music. This study explores the correlation of Baroque affections with ornaments as a legitimate approach to the composition of embellishments for Handel's opera arias. The tradition of rhetoric, the conventions of late Baroque Italian opera seria as a form, and the practice of ornamentation as an integral part of these conventions are examined. The study also provides a survey of eighteenth-century literature concerning the relationship of the musical representation of affects and ornamentation. Lastly, a review of Handel's operatic career and of the plots of the Agrippina, Rinaldo and Rodelinda will provide a context for the preparation of "affective" ornamented versions of six arias from these operas. In closing, a brief discussion of the early music movement and of the debates surrounding the use of the term "authentic" in relation to historic performance practices will illuminate the relevance of the relationship between affect and ornament to twenty-first century performances.

The performance of opera arias composed by George Frideric Handel in our modern day is complicated by the necessity of including improvised embellishments, which were a standard component of the eighteenth-century genre of opera seria. Furthermore, discussions concerning the concepts of historical authenticity and performance practice muddle the issue of preparing Handel's music for presentation. In recent years scholars have prepared ornamented versions of select Handel arias in consultation with eighteenth-century performance practice treatises and other contemporary materials that provide considerable insight into the purpose and execution of ornamentation in performances Handel himself oversaw. What remains relatively unexplored, however, is the relationship between eighteenth-century embellishments and the Baroque affections, or passions. The affections, or passions, were rationalized emotional states derived from the Greek and Latin doctrines of rhetoric and oratory which Baroque composers sought to evoke and express in their music. This study explores the correlation of Baroque affections with ornaments as a legitimate approach to the composition of embellishments for Handel's opera arias. The tradition of rhetoric, the conventions of late Baroque Italian opera seria as a form, and the practice of ornamentation as an integral part of these conventions are examined. The study also provides a survey of eighteenth-century literature concerning the relationship of the musical representation of affects and ornamentation. Lastly, a review of Handel's operatic career and of the plots of the Agrippina, Rinaldo and Rodelinda will provide a context for the preparation of "affective" ornamented versions of six arias from these operas. In closing, a brief discussion of the early music movement and of the debates surrounding the use of the term "authentic" in relation to historic performance practices will illuminate the relevance of the relationship between affect and ornament to twenty-first century performances.

The performance of opera arias composed by George Frideric Handel in our modern day is complicated by the necessity of including improvised embellishments, which were a standard component of the eighteenth-century genre of opera seria. Furthermore, discussions concerning the concepts of historical authenticity and performance practice muddle the issue of preparing Handel's music for presentation. In recent years scholars have prepared ornamented versions of select Handel arias in consultation with eighteenth-century performance practice treatises and other contemporary materials that provide considerable insight into the purpose and execution of ornamentation in performances Handel himself oversaw. What remains relatively unexplored, however, is the relationship between eighteenth-century embellishments and the Baroque affections, or passions. The affections, or passions, were rationalized emotional states derived from the Greek and Latin doctrines of rhetoric and oratory which Baroque composers sought to evoke and express in their music. This study explores the correlation of Baroque affections with ornaments as a legitimate approach to the composition of embellishments for Handel's opera arias. The tradition of rhetoric, the conventions of late Baroque Italian opera seria as a form, and the practice of ornamentation as an integral part of these conventions are examined. The study also provides a survey of eighteenth-century literature concerning the relationship of the musical representation of affects and ornamentation. Lastly, a review of Handel's operatic career and of the plots of the Agrippina, Rinaldo and Rodelinda will provide a context for the preparation of "affective" ornamented versions of six arias from these operas. In closing, a brief discussion of the early music movement and of the debates surrounding the use of the term "authentic" in relation to historic performance practices will illuminate the relevance of the relationship between affect and ornament to twenty-first century performances. / Arts, Faculty of / Music, School of / Graduate

Based on a natural unification of logic and computation, Martin-Löf’s intuitionistic type theory can be regarded simultaneously as a computationally meaningful higher-order logic system and an expressively typed functional programming language, in which proofs and programs are treated as the same entities. Two modes of programming can then be distinguished: in externalism, we construct a program separately from its correctness proof with respect to a given specification, whereas in internalism, we encode the specification in a sophisticated type such that any program inhabiting the type also encodes a correctness proof, and we can use type information as a guidance on program construction. Internalism is particularly effective in the presence of inductive families, whose design can have a strong influence on program structure. Techniques and mechanisms for facilitating internalist programming are still lacking, however. This dissertation proposes that internalist programming can be facilitated by exploiting an interconnection between internalism and externalism, expressed as isomorphisms between inductive families into which data structure invariants are encoded and their simpler variants paired with predicates expressing those invariants. The interconnection has two directions: one analysing inductive families into simpler variants and predicates, and the other synthesising inductive families from simpler variants and specific predicates. They respectively give rise to two applications, one achieving a modular structure of internalist libraries, and the other bridging internalist programming with relational specifications and program derivation. The datatype-generic mechanisms supporting the applications are based on McBride’s ornaments. Theoretically, the key ornamental constructs — parallel composition of ornaments and relational algebraic ornamentation — are further characterised in terms of lightweight category theory. Most of the results are completely formalised in the Agda programming language.

In 1907, Gustav Klimt finished Portrait of Adele Bloch-Bauer I. The portrait offers a strong opposition between the three dimensionality of the sitter's face and hands and the flatness of her ornamented dress and surroundings. Despite this opposition the portrait has not been discussed within the theoretical framework of portraiture, but is most often discussed, and grouped, with Klimt's other portraits and images of women. This paper argues that the lack of scholarly consideration of this portrait, and Klimt's portraits as a whole, might be due to his seeming lack of artistic program. By relating Portrait of Adele Bloch-Bauer I to identity theory and to the scholarship on modern portraiture, this discussion will reveal that there are elements of interest in Klimt's portraits which warrant scholarly consideration.

Ornamental traits in male birds have been the subject of much research effort, and sexual selection is recognized as the leading explanation for their evolution. The expression of ornamental traits in females has received little study until recent decades. Female colouration has been considered a non-adaptive, correlated response to selection on males. However, models predict that male mate choice, female competition, and the evolution of honest signals could help explain female ornamentation, especially where male investment in offspring and variation in female quality are high. I investigated this in the American robin (Turdus migratorius), a socially monogamous species with bi-parental care and variable female ornamentation. Female robins display conspicuous red breast plumage, bright yellow bills, and achromatic ornamentation. Female ornamentation is similar to males, but is subdued to varying degrees across individuals. Female colouration could function as a useful criterion in mate selection by males if it is correlated with aspects of female quality important to producing viable offspring. I assessed whether female ornamentation in robins might act as an honest signal by relating variation in female colour to measures of individual quality and reproductive investment. To assess ornamentation, I took colour measurements of the bill, crown and breast of male and female robins in the field using reflectance spectrometry. Female bill, breast and crown traits reliably predicted age, crown and bill colour traits were related to better body condition, and bill colour decreased seasonally as well as with ectoparasite load. I found evidence of assortative mating based on crown UV reflectance and bill colour. To assess reproductive investment, I measured egg size, yolk proportion, and deposition of yolk testosterone and carotenoids. Females with brighter (lighter) carotenoid-based bill colour laid larger eggs, and females with yellower bills laid eggs with higher yolk proportions and more total yolk carotenoids. Yolk testosterone level was associated with redder female breasts. These results support the hypothesis that female colour may be a reliable indicator of individual quality and capacity for reproductive investment. / Thesis (Master, Biology) -- Queen's University, 2014-01-30 15:09:57.797