Percy Aldridge Grainger (1882-1961) was a prolific Australian-American composer whose cutting-edge musical works ushered performers, conductors, and audiences into the modern era with little regard for their comfort zones. Some of his most important work was the research, collection, and arranging of folk songs, particularly British folk songs. Grainger often set these folk songs for wind band, an ensemble for which he was a strong proponent. His works for band were some of the earliest to include prominent saxophone parts and solos. He was a vocal proponent of the saxophone family and is an important figure in the history of the instrument. Despite Grainger's outspoken love for the saxophone, he never composed any original solo repertoire for the instrument. The new, original composition Pictures of Percy: Suite for Soprano Saxophone and Piano (2023) was crafted in an effort to remediate this void within the saxophone repertory. The work includes new arrangements of Grainger's compositions as well original music. The work is intended to add some semblance of Grainger's compositional voice to the saxophone literature while also paying homage to his passion for the saxophone family and his influence on its history.

BACKGROUND:The memory response to LCMV in mice persists for months to years with only a small decrease in the number of epitope specific CD8 T cells. This long persistence is associated with resistance to lethal LCMV disease. In contrast to studies focused on the number and surface phenotype of the memory cells, relatively little attention has been paid to the diversity of TCR usage in these cells. CD8+ T cell responses with only a few clones of identical specificity are believed to be relatively ineffective, presumably due to the relative ease of virus escape. Thus, a broad polyclonal response is associated with an effective anti-viral CD8+ T cell response.RESULTS:In this paper we show that the primary CD8+ T cell response to the LCMV gp33-41 epitope is extremely diverse. Over time while the response remains robust in terms of the number of gp33-tetramer+ T cells, the diversity of the response becomes less so. Strikingly, by 26months after infection the response is dominated by a small number TCRbeta sequences. In addition, it is of note the gp33 specific CD8+ T cells sorted by high and low tetramer binding populations 15 and 22months after infection. High and low tetramer binding cells had equivalent diversity and were dominated by a small number of clones regardless of the time tested. A similar restricted distribution was seen in NP396 specific CD8+ T cells 26months after infection. The identical TCRVbeta sequences were found in both the tetramerhi and tetramerlo binding populations. Finally, we saw no evidence of public clones in the gp33-specific response. No CDR3 sequences were found in more than one mouse.CONCLUSIONS:These data show that following LCMV infection the CD8+ gp33-specific CD8 T cell response becomes highly restricted with enormous narrowing of the diversity. This narrowing of the repertoire could contribute to the progressively ineffective immune response seen in aging.

Master of Music / School of Music, Theater, and Dance / Julie Yu-Oppenheim / This report is for the beginning choral music educator or music education student who seeks guidance when selecting repertoire for their advanced elementary or beginning middle school choir. I attended the 2011 Kansas Choral Directors Association conference. Conferences such as these are great resources for the novice choral educator and even the veteran teacher. Choral reading sessions are excellent ways to find new and quality repertoire, because the directors that select the music spend a good amount of time researching and selecting songs. In determining what factors directors use to choose repertoire for their choirs, a survey was developed and administered to forty Kansas music educators at one of the reading sessions which asked the following three questions: 1) What is the likelihood that you would use this song in a concert or program? The next two are questions in which I asked (these two were based on a ‘disagree or agree’ scale): ‘This song has good educational value for the students’ and ‘I can teach many elements of music within this song.’ Evidence is shown from other master educators of various levels that choosing appropriate, worthy, and challenging repertoire is crucial to the success of the choral program.

Orientador: Marisa T. de Oliveira Fonterrada / Resumo: Nesta pesquisa pretendeu-se introduzir repertório vocal, que envolva parâmetros musicais não vivenciados pelos grupos corais infantis ou infanto-juvenis. Hoje na cidade de São Paulo, a maior parte desses coros dedica-se a um repertório mais ou menos restrito. A comprovação dessa hipótese foi feita pela análise de programas de concerto e por informações fornecidas por alguns regentes a respeito do trabalho coral realizado em seus coros. Mediante a comprovação da restrição, acredita-se que as produção musical vivenciada por esses grupos fornece uma visão unilateral da música. O objetivo desse estudo é aproximar a prática coral do sujeito da pesquisa, a um tipo de repertório musical que utiliza organições harmônico-melódicas até então desconhecidas pelo grupo. Esperou-se com isso que a forma e escuta fossem modificadas e a lacuna existente entre compositor e prática educativa, minimizada. Como fundamentação, partiu-se da idéia de música como linguagem, seguindo os pressupostos teóricos de Gadamer e Merleau-Ponty em que a linguagem é vista pelo prisma de seu uso pelo falante. O suporte pedagógico foi encontrado no compositor Guy Reibel que aponta para a lacuna existente entre a prática musical estudantil e profissional e a produção de música contemporânea. Na área vocal, a pesquisa foi amparada pelos trabalhos de Sharon Mabry e Brigitte Rose. A pesquisa é qualitativa participativa de caráter intervencionista e previlegiou a descrição, a análise e a interpretação de dados. Dessa reflexão e de sua aplicação no trabalho prático, percebeu-se que há envolvimento e comprometimento do coro com o repertório selecionado e que já se notam mudanças na atitude de escuta do grupo, necessárias à sua execução / Abstract: In this research it was intended to introduce vocal repertoire that contain musical parameters not familiar to the children and youthful choir. Today, most of the São Paulo city choirs dedicate themselves to a restricted repertoire. The evidence of this hypotheses was made by analyzing concert programs and information given by some conductors, regarding to their choral work. With the evidence of the repertoire restriction, it is believed that this kind of practice gives a unilateral vision of music to the choirs'singers. The goal of this study was to bring the choir near to musical repertoire that uses a harmonic-melodic organization until them unknown for the group. It was expected by this approach, that the way of listerning would be modified and the existing gap between composers and pedagogical practice would be minimized. The basis of this research is the concept of music as a language, pursuing the thoughts of the theoreticians Gadamer and Merleau-Ponty, that see the language by the prism of its use by the speaker. The pedagical support was found in the composer Guy Reibel that points to the existing gap between the students and professional musical practice and the contemporary music production. In the vocal area, the research was supported by Sharon Marby and Brititte Rose's works. The investigation is qualitative participative of interventionist aspect and privileged the description, the analysis and the interpretation of the facts. From this reflection and its practical application, it was perceived that the choir was involved to the selected repertoire and already changes in choir's listening attitude, necessary to the repertoire perfomance are noticed / Mestre

abstract: In the 1950s, Miguel Llobet (1878–1938) and Emilio Pujol (1886–1980) published the first transcriptions of piano and orchestral music for two guitars that became staples in the repertoire. Ida Presti (1924–1967) and Alexandre Lagoya (1929–1999) expanded their efforts with new adaptations of Baroque, Romantic, and Modern music. Following their examples, generations of professional guitar duos have maintained a similar transcription repertoire. However, closer examination reveals noticeable gaps in it as Renaissance works have been largely overlooked. To illuminate this issue, chapter 2 revisits adaptations for two guitars of music originally written for vihuelas, lutes, viols, and the virginal to inquire about the reasons for this neglect and discuss plausible solutions. Because the virginal stands out for its innovative characteristics and alignment with the solo lute works by John Dowland (1563–1626) and John Johnson (ca. 1545–1594), the “English School” of Virginalists is further explored as a potential source of suitable works for transcriptions. Chapter 3 discusses philosophical concepts and editorial practices to propose a method aimed at producing stylistically faithful adaptations of virginal music. The editorial criteria for this method are informed by in-depth reflections on terminology, the ontology of musical works, the notion of authenticity, and common sixteenth-century practices from musica ficta to tuning temperaments and notational conventions. Concerning ethical matters, this chapter assesses authorship issues that originated at the turn of the nineteenth century but are still adopted by modern editors and transcribers. This discussion aims to shed light on both the negative impact on intellectual property and how it can be avoided by simply resorting to the practice of scholarly transcriptions. Chapters 4 and 5 explain the procedures and applications of the proposed method in two parts: adaptation and revision. The first introduces concepts and strategies from choosing suitable works to balancing playability and aesthetic fidelity intended to produce a preliminary version of the original work. The second establishes a knowledge base through musico-historical discussions and comparative analyses of sources that inform editorial decisions and necessary changes to be implemented in the final score. / Dissertation/Thesis / Doctoral Dissertation Music 2019

No description available.

Master of Music (Music Education) / This thesis documents an investigation of the selection procedures relating to Australian vocal repertoire for mid-adolescent and Higher School Certificate (New South Wales) performers, as used by private singing teachers, school music teachers and singing students. It explores the similarities and differences in the criteria employed in these selections. Semi-structured interviews were the source of data and were conducted with participants from these three categories as well as two composers. The participants evinced highly disparate views. The private singing teachers believed that repertoire should be dictated by the technical ability and physiological constraints of mid-adolescent students and that their role in selecting repertoire was related to the long term vocal growth of each individual. They felt that the school music teachers vetted their repertoire choices with no useful explanation of their reasoning, while the school music teachers noted that students frequently presented repertoire that was too difficult or that was not readily communicated with the audience. The ability of mid-adolescent singers to communicate with and engage an audience was the prime concern of the school music teachers. The students wanted to impress their examiners and believed that infrequently heard repertoire was the best choice, though this was not endorsed by the teachers. There was a perception that the students would perform at their best when they chose repertoire to which they could relate emotionally. Many private singing teachers and school music teachers are not aware of the very broad range of contemporary Australian music and its divergent characteristics. However, there is a shortage of appropriate Australian repertoire that addresses the physiological and emotional needs of mid-adolescent singers.

The purpose of this essay is to document the development of the American Bandmasters Association's Ostwald Award from its inception in 1955 to the present day. The study addresses several aspects of the award's development, taking into account more localized evolution in regard to the award's history, purpose, compositional specifications, and the procedures employed to select the winning composition and composer. Ultimately, the discussion focuses not only on how the award is presented in accordance with its own purposes but the objectives of the American Bandmasters Association. The data for this study are collected through two different methods. The primary method of data collection involves an examination of documents and other associated materials located in the ABA Archive at the University of Maryland. A secondary method of interviews is utilized in order to augment the written record and overcome its deficiencies. Participants in the study include Ostwald Award Committee members and chairs both past and present. While the Ostwald Award has recognized forty-seven compositions since its inception, no formal consideration of the award's history and contribution to the wind band repertoire has been undertaken. Such is the aspiration of this essay.

B lymphopoiesis in aged mice is characterized by reduced B cell precursors and an altered antibody repertoire. Aged mice maintain an ordinarily minor pool of early c-kit+ pre-B cells, indicative of poor preBCR expression, even as preBCR competent early pre-B cells are significantly reduced. Therefore, in aged mice, preBCR-mediated B2 B lymphopoiesis is significantly diminished; likely as a consequence of poor surrogate light chain expression. Notably, the remnant B1 B cell lineage present in adult bone marrow is retained in aged mice as evidenced by normal numbers (~0.3%) of Lin-CD19+B220low/- B1 B cell precursors. Of interest, B1 progenitors express substantially less lambda 5 surrogate light chain protein than do B2 pro-B cells and the surrogate light chain levels are further reduced in aged mice. B cells derived from putatively preBCR-deficient precursors, either B2 c-kit+ B cell precursors or B1 B cell progenitors, from either young or aged mice, generate new B cells in vitro that are biased to larger size, higher levels of CD43/S7, and decreased kappa light chain expression. Notably, immature B cells in aged bone marrow exhibit a similar phenotype in vivo, consistent with the changes seen in B cell precursor subpopulations. In aged mice, the B2 pathway is partially blocked with limited preBCR expression and signaling; however, continued B cell development via preBCR-deficient pathways, including B1 pathways, is observed. Increased generation of new B cells by these alternative pathways may contribute to altered phenotype, repertoire, and function in senescence.

The presence of Allophone students in French-language secondary schools in Ottawa is gradually increasing. While the politique d’aménagement linguistique (PAL) insists on the use of French within the school, one may begin to wonder which language Allophone students are speaking. French? English? Their native language(s)? This qualitative case study of four multilingual Allophone students explores their language repertoire use in relation to their desired linguistic representation, their linguistic proficiency in French, English, and their native language(s), and their perceptions of language prestige. The results indicate that students spoke a significant amount of English, some French (particularly with their teacher or Francophone classmates), and minimal amounts of their native language. Recommendations are suggested to increase the effectiveness of PAL within a Francophone minority context and to ensure that the policy’s objects are attained.