Thesis--University of Wisconsin--Madison. / Typescript. Vita. Description based on print version record. Includes bibliographical references (leaves 247-259).

No description available.

Abstract not available

Gustatory sensilla in the blowfly Phormia regina contain five phenotypically distinct neurons. The neurons are thought to arise from a common precursor, however, little is known about their lineage or about how each one comes to assume a unique fate. This study examines the possibility that the neurons arise from a repeatedly dividing stem cell, in which case, the neuronal fate may be determined by birth order. To determine if the neurons are born at different times, their times of birth were assessed. This was achieved by using Hydroxyurea to arrest the gustatory neural precursors at different times throughout the development of the sensillum. Thus, each neuron's time of birth, relative to the arrest, was reflected by its presence or absence. The results show that the five neurons are born in a relatively short interval, and hence, cannot arise from five successive divisions of a stem cell. Therefore, the fate of each neuron cannot be determined solely by its time of birth.

Baldassare Galuppi (1706--85), during the course of his compositional career, composed a number of settings of the Marian antiphon text " Salve Regina," of which only one choral and five solo settings survive. In this thesis Galuppi's compositional career is reviewed and the history of the Venetian ospedali, or orphanages, addressed, especially as it relates to the composer's tenure at the Ospedale di San Lazzaro dei Mendicanti and the Ospedale del Santissimo Salvatore degli Incurabili. Also, the importance of the Marian text itself is discussed in relation to Galuppi's works at the two institutions. The five solo settings for soprano and orchestra, two of which are securely dated, are examined individually and, based on stylistic considerations, given a tentative chronology. Problems of attribution for one of the settings are discussed in light of the discovery of a second manuscript source attributed to Giovanni Battista Borghi. Critical editions of the five solo settings are included.

Based on the first part of the author's thesis, Hamburg, 1957. / Bibliography: p. 179-185.

Based on the first part of the author's thesis, Hamburg, 1957. / Bibliography: p. 179-185.

No description available.

No description available.

O objetivo do trabalho é apresentar a carreira de Elis Regina como uma síntese dos dilemas de engajamento e mercado da MPB nas décadas de 1960/70, e as transformações de sua trajetória musical nesse contexto. Vencedora do I Festival de MPB, em 1965, Elis passou a apresentar, com grande sucesso, o programa da TV Record, O Fino da Bossa, ao lado de Jair Rodrigues. Tal programa ampliou o público de MPB e ia ao encontro aos anseios do projeto nacional-popular da esquerda nacionalista buscando aliar tradição e modernidade musical, temperado pela animação dos apresentadores. Em 1966, O Fino sofreu forte concorrência com o programa Jovem Guarda, considerado sinônimo de alienação, e em 1967 foi tirado do ar pela emissora. Diante da crise de O Fino, e também das críticas que recebeu de críticos vanguardistas, como Campos, Medaglia e Veloso, assim como de nacionalistas, a exemplo de Tinhorão, a popularidade de Elis foi afetada em 1967. A questão central da pesquisa consiste em problematizar como a cantora resgatou o prestígio junto ao público, ao mercado e a crítica especializada, sobretudo, nos anos 1970, adequando-se aos novos paradigmas da MPB e mostrando-se outra persona à mídia e à audiência. / The objective is to present the career of Elis Regina as a summary of the dilemmas of engagement and market the MPB in the decades of 1960/70, and the transformation of his musical path in this context. Winner of the I Festival de Música Brasileira in 1965, Elis then presented with great success, the program of TV Record, \"O Fino da Bossa\", along with Jair Rodrigues. This program expanded the audience of the MPB and went against the wishes of the national-popular project of the left nationalist seeking to combine tradition and modernity in music, tempered by the excitement of the presenters. In 1966, \"O Fino\" suffered stiff competition with the \"Jovem Guarda\", synonymous with \"alienation\", and in 1967 was taken down by the station. Given the \"crisis\" of \"O Fino\", and the criticism it received from avantgarde critics such as Campos, Medaglia and Veloso, as well as nationalists like Tinhorão, the popularity of Elis was affected in 1967. The central research question is to discuss how the singer rescued the prestige with the public, the market and critics, especially in the 1970s, adapting to new paradigms of MPB and showing another persona to the media and audience