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The purpose of this project is to assist voice teachers in training tenors by selecting forty art songs that are pedagogically useful in the training of the tenor voice, and providing specific pedagogical strategies for the learning process of the selected repertoire. The list of repertoire consists of ten art songs from each of the four main Western singing languages: Italian, English, German, and French. These four languages have been selected because they represent the vast majority of standard art song repertoire for the typical undergraduate tenor. What is missing in current literature, and what this project addresses, is a pedagogically focused analysis of carefully chosen set of art song repertoire for the tenor voice. This project aids teachers and young tenors in technique and repertoire selection by identifying technical issues in each song, explaining ways to approach those technique issues, and highlighting positive pedagogical results from learning each song. By following the strategies set forth in this project, the tenor and teacher will be better equipped to select appropriate art song repertoire beyond those songs presented in this project and address vocal technique through the song learning process. The body of the dissertation begins with a discussion of pedagogical areas in which the tenor's technique is most distinct from other voice parts including: passaggio, vowel modification, appoggio, giro, chiaroscuro, tessitura, and agility. A brief introduction of each song will include stylistic information on the piece and analysis of the song including range, tessitura, level of difficulty, and vocal demands. I will then discuss specific examples of difficult melodic passages, or phrases that are of pedagogical value and offer specific exercises that can aid the tenor in the song learning process. The information discussed in each song provides a starting point for further repertoire selection beyond this project by introducing the teacher and tenor to composers, collections, or cycles that logically supplement the list of selected repertoire.

The purpose of this study was to examine and provide a pedagogical content analysis of the published songs of Karl Goldmark (1830-1915), an Austrian composer from the Romantic Era. The songs' characteristics were evaluated to determine the level of singer for which they would be appropriate. The creation of an annotation format was devised for the analysis of each song including the areas of subject matter, difficulty level, range, tessitura, tempo indication, duration, and unique characteristics of the vocal line and the piano line. The detailed entries provide an easy and accurate evaluation of the individual songs in order for the voice teacher to assess their value for each student, with particular attention to their suitability for the beginning, intermediate and advanced singer. These levels generally correspond to freshman or sophomore, junior or senior, and graduate student, respectively. The results indicate a division of difficulty level among all of the songs, with moderate difficulty being the most common. It has also been concluded that there are valuable songs for all levels of student. Areas for further study are included.

A prolific arranger and composer, Electo Silva is an iconic figure in the field of choral music in Cuba. His collection of traditional Cuban songs entitled "30 canciones populares cubanas" presents an array of influential pieces that have enriched the repertoire for mixed a cappella choirs. Six titles have been extracted from the catalog of thirty to more closely examine characteristics of genre and style, composition and structure, and language and performance practice. Historical background is defined, cultural and folkloric traditions are explored, and suggestions for performance are offered. The essay is designed to assist the non-Cuban conductor in creating a successful culturally and historically accurate performance. English translations, International Phonetic Alphabet transcriptions, and musical examples are added to assist in the conductor's research and preparation.

Although Icelandic and Norwegian killer whales are thought to have been in contact prior to the collapse of the herring stock in the 1960s, the Northeast Atlantic killer whales currently seem to show high site fidelity. So far, photoidentification data have suggested movement of a few individuals between East Iceland and North Scotland, and two calls have been shown to be shared by the Icelandic and Norwegian populations. Based on previous and newly analysed call samples, the aim of this study was to describe the geographic variation in the vocal repertoire of the Northeast Atlantic killer whales. Recordings have been conducted off Southwest Iceland in the summers 2004, 2008 and 2009 using sound recording tags attached using suction cups (Dtags), a 4-element vertical hydrophone array and a 2-element towed hydrophone array. From the 57 hours of recording analysed, 1742 calls were classified. In total, 56 distinct call categories composed of 35 call types and 31 subtypes were identified. This discrete call repertoire contained less biphonic calls but more calls composed of buzzes and/or clicks than the Norwegian repertoire. The reasons for these differences remain unknown. One Icelandic call subtype was defined as a compound call, a type of call that is common in the Norwegian population. The comparison of the different vocal repertoires of Northeast Atlantic showed four good or likely call matches in herring-eating killer whales (one between Southwest Iceland and Shetland, one between East Iceland and Norway, and two between Shetland and Norway). No matches were found between Southwest Iceland and East Iceland. I suggest that the four shared calls are most likely to have come from a common ancestral pod and have been transmitted through vocal learning. Over time, geographic isolation of the groups induced by changes in the migratory patterns of the herring might have been accompanied by divergence in their call repertoires.

Those undertaking the study of a musical instrument may focus on a specific genre of music or diversify through exploration of a range of styles and forms. Students wishing to gain insight into a variety of styles may seek guidance from a number of sources, particularly in their formative years. In the interests of achieving stylistic authenticity and in the absence of teachers with wide-ranging musical experience, the student may seek direction from repertoire and pedagogical resources. This research aims to address a deficiency in existing repertoire and teaching materials for the beginner to intermediate classical clarinet player by contributing to and extending current resources. The thesis is presented in two parts - folio (60%) and exegesis (40%): The folio involves the creation of a series of original works written in a range of archetypal jazz, popular and classical music styles, aimed at providing a level of instructional support for both student and teacher in the achievement of stylistic integrity. This is realised through the inclusion of annotations and recommended practice strategies for each piece, as well as a general guide to style section. To be of further educational value to the student, compositions in the folio incorporate both traditional and extended techniques. The exegesis reviews current leading instructional manuals and repertoire, discusses their strengths and weaknesses and identifies areas where resources are deficient. It analyses and presents an overview of compositions in the folio and provides a detailed commentary of the compositional process, using a selected work as an exemplar. Given the nature of the folio, which is aimed at the young clarinet player and teacher and commences with advice on style followed by a series of compositions, the exegesis precedes the folio in this thesis.

Doctor of Philosophy / Department of Biology / Stephen Chapes / Antibodies are an essential part of the immune system. Each B cell, a type of white blood cell, produces a unique antibody. This antibody molecule is comprised of two identical light chains and two identical heavy chains. Each chain has a variable region, which is responsible for antigen binding, and a constant region, which is responsible for effector function in the host. The variable region in the heavy chain is composed of three gene segments, the variable (V), diversity (D), and joining (J) gene segments. The light chain is composed of only V- and J-gene segments. Each immunoglobulin locus contains multiple versions of each gene segment, ranging from over 130 possible V gene segments in the heavy chain to four possible J-gene segments in both the heavy and kappa light chain. The recombination of gene segments occurs in the germline DNA and results in the formation of the unique antibody. The diversity and binding abilities of the antibodies are important for a proper and robust immunological response. Of importance to binding and specificity is the complementary determining region three (CDR3) which plays a major role in determining specificity and antibody-antigen binding. Due to its uniqueness, is used as a measure of diversity in the repertoire. In this work, I used Illumina MiSeq 2x300nt high-throughput sequencing to assess the mouse splenic transcriptome. The work I present here shows the splenic immunoglobulin gene repertoire from unchallenged, unvaccinated conventionally housed mice, mice flown aboard the International Space Station (ISS), and mice challenged with tetanus toxoid (TT) and/or adjuvant (CpG) and subjected to skeletal unloading by antiorthostatic suspension (AOS). AOS is used to induce some of the physiological changes that parallel those that occur during space flight. The characterization of the repertoire includes analysis of V-, D-, and J-gene segment usage, constant region usage, V- and J-gene segment pairing, and CDR3 length and usage. The work included validation of the methodology needed for tissue preparation and storage aboard the ISS, showing that the data obtained was similar to those used in standard ground-based methodologies (Chapter 2). I further validated our nonamplified sequencing methodology with comparisons to methods that use amplification as part of the process (Chapter 3). My work characterized the antibody repertoire of the conventionally housed C57BL/6J mouse (Chapter 4), an important mouse strain in the field of immunology, and demonstrated the homogeneity of gene segment usage in unchallenged animals. We also demonstrated that short duration (~21 days) space flight does not significantly alter the antibody repertoire (Chapter 5). The work culminates in an AOS study to assess changes to the B-cell immunoglobulin repertoire after vaccination with TT and/or CpG. The results show that changes to V-, D-, and J-gene segment usage occur after antigen challenge with AOS causing decreased class switching and frequency of plasma cells. Tetanus toxoid challenge decreased multiple gene segment usage and CpG administration increased isotype switching to the IgA constant region (Chapter 6).

A atualidade é marcada pela velocidade de informações e maior contato social promovido pela facilidade e acessibilidade das mídias digitais e pela influência considerável na criatividade dos alunos de cursos superiores em moda. A construção do conjunto de conhecimentos para o processo criativo na área de moda é o tema abordado nesta pesquisa e objetiva colher dados de quais informações os estudantes acessam e como lidam com esse processo a fim de construírem seu repertório para a pesquisa. Para isso foram feitas análises bibliográficas dos processos de criação em artes, design e moda; da influência das mídias digitais; e do estudo de caso dos alunos de Design de Moda da UTFPR-Apucarana. Este trabalho visa contribuir para o processo de criação e consequentemente o desenvolvimento de produto de moda inovador. / Today is considerably marked by the speed of information and greater social contact promoted by the facility and accessibility of the digital media and the considerable influence on the creativity of students of higher education courses in fashion. The construction of the set of knowledge for the creative process in fashion, is the topic of this research and aims to collect data from which students access information and how to deal with this process in order to build their repertoire for research. Through bibliographic analysis of the creation processes in arts, design and fashion, the influence of digital media and the case study of students of Fashion Design UTFPR-of Apucarana. This work aims to contribute to the process of creation and consequently the product development of innovative fashion.

Original unaccompanied literature currently stands as one of the most understudied bodies of music in the euphonium repertory. This is largely due to a lack of access to reference recordings, live performances, and study/performance guides. Many of the commissioning projects for new euphonium music in the late 20th and early 21st centuries have promoted the composition of large scale works for euphonium and large ensembles, but very few have generated new unaccompanied pieces for euphonium. Many of the most recent commissions for unaccompanied euphonium music have been for competitions such as the Lieksa Brass Festival (Finland) and Leonard Falcone International Festival (USA). These competitions are also where many students get their only exposure to the unaccompanied repertoire. Unfortunately, there is a small number of standard unaccompanied works that are continuously recycled for these competitions and the exposure to new pieces in the repertoire is further diminished for many developing euphoniumists. This study will examine the three works for unaccompanied euphonium by Torstein Aagaard-Nilsen and provide solutions for many common technical challenges and pose suggestions for approaching and preparing this genre of music. Connections are made throughout the study to specific etudes and other unaccompanied solos that can be used as complementary and precursory studies to aid in the mastery of this literature.

The purpose of this study was to describe the phonetic repertoire of late 8 phonemes among adolescents and young adults with Down syndrome and then determine the relationship between age and presence of the latest developing phonemes as well as their impact on intelligibility. This study also described the stimulability profile for those late 8 phonemes that were produced in error. The Arizona Articulation and Phonology Scale was administered to individuals with Down syndrome between the ages of 12 – 21;11 to obtain a phonetic profile. Among those participants included in the study, on average, 87.5% of the late 8 phonemes were present. Seven of eight participants were stimulable for all phonemes that were misarticulated. Results did not indicate a significant correlation between either age or intelligibility and the presence of late 8 phonemes.