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An important resource in many areas of music is the availability of standardized graded databases of literature for solo instruments. These databases provide a progression of technical abilities that help musicians follow a proper path in developing new skills. Currently in the area of percussion, there are no graded databases for solo vibraphone literature. While there are several sources that contain subjective graded music lists, none of these sources have a standardized approach in defining each of their difficulty levels, and this creates contradicting information for particular pieces. The goal of this research is to present the first standardized and systematic approach to grading the difficulty levels of vibraphone literature. Influenced by pianist Jane Magrath's reference guide of piano teaching literature and percussionist Julia Gaines' research project on marimba repertoire, this research is modeled on Gaines' objective analysis document used to grade marimba literature with ten different levels of difficulty. With the exception of dampening and pedaling, all of the technical aspects required for playing the vibraphone remain the same as the marimba. Because musical considerations are subjective in nature, only the quantifiable technical considerations are used for grading each work in an objective manner. The technical difficulty of original unaccompanied four-mallet solo vibraphone literature is assessed through the analysis of stroke speed, interval size, wrist turns, manual changes, independence, dampening, and pedaling. Each piece's grade will be classified based on the highest level of technical difficulty found in the music. The selection of vibraphone literature for this research comes from pieces found on prescribed state music lists and university handbook recommendation lists. Annotations are included to describe the pieces that are particularly mislabeled, and a discussion regarding the performance challenges that each piece presents are offered. Three annotations from each of the ten difficulty levels contain a justification based on the results recorded in the analysis document. With an extensive graded database containing over one hundred seventy vibraphone pieces listed in the appendix, this resource will assist percussion students and educators in selecting appropriate vibraphone literature to study and perform within a proper progression from one work to another.

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.

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.

<p>B lymphocytes are multifunctional and play important roles in both innate and adaptive immunity. The diverse roles of B cells can be attributed to the various and distinct types of B cells as determined by their origin, developmental stage, antigen specificity, and function.</p><p>Evidence suggests that human innate-like B cells (i.e., marginal zone and/or B1-like B cells) develop during fetal life. However, the characteristics of human fetal B-lineage cells are less understood. Recent studies of fetal and human umbilical cord B cells indicated that CD27, a well-established marker of human memory B cells, may also be expressed on human B1-like B cells. Indeed, CD27+ B cells are present in patients with hyper-IgM 1 (HIGM1) syndrome who are unable to generate GCs or memory B cells. In order to define the origin of naïve CD27+IgD+ human B cells, I studied B-cell development in both fetal and adult tissues.</p><p>In human fetal liver, most CD19+ cells co-express CD10, a marker of human developing B cells. Some CD19+CD10+ B cells express CD27, and these fetal CD27+ cells are present in the pro-B, pre-B, and immature/transitional B-cell compartments. Lower frequencies of phenotypically identical cells are also identified in adult bone marrow. CD27+ pro-B, pre-B, and immature/transitional B cells express recombination activating gene-1, terminal deoxynucleotidyl transferase, and Vpre-B mRNA comparable to their CD27− counterparts. CD27+ and CD27− developing B cells show similar immunoglobulin heavy chain gene usage with low levels of mutations, suggesting that CD27+ developing B cells are distinct from mutated memory B cells. Despite these similarities, CD27+ developing B cells differ from CD27− developing B cells by their increased expression of LIN28B, a transcription factor associated with the fetal lymphoid lineages of mice. Furthermore, CD27+ pro-B cells efficiently generate IgM+IgD+ immature/transitional B cells in vitro. Our observations suggest that CD27 expression during B-cell development identifies a physiologic state or lineage for human B-cell development distinct from the memory B-cell compartment.</p><p>Regarding B-cell repertoire, due to the random recombination of immunoglobulin V, D, and J gene segments during B-cell development, B cells are highly diversified in their antigen specificity. Through their specific B-cell antigen receptors (BCRs), B cells recognize foreign (and self-) antigens, and present these antigens to cognate T cells to elicit/establish humoral responses, such as germinal centers, immunological memory, and long-lasting circulating antibodies. Some bacteria and viruses escape the host’s immune system by mimicking host antigens, as B cells that recognize shared epitopes on self- and foreign antigens may provide protection against such pathogens; however, these B cells are normally eliminated by tolerance mechanisms during development. The extent of tolerization manifest among human B cells that recognize both self- and foreign antigens is unknown. Here, I and my colleagues use an efficient single B-cell culture method and multiplexed antigen-binding assays to determine the specificity of about 2,300 clonal IgG antibodies produced by the progeny of single transitional and mature B cells. We show that in healthy individuals, half of the self-reactive B cells crossreact with foreign antigen, and that the frequencies of crossreactive B cells decrease by half between the transitional and mature B-cell stages, indicating that a substantial fraction of foreign specificities is lost by the second tolerance mechanisms. In SLE patients, who show defective peripheral tolerance, frequencies of crossreactive B cells are unchanged between the B-cell stages. The crossreactive, mature B cells in SLE patients show distinct reactivity to foreign antigens. We propose that activating forbidden B cells may be a good strategy for protection against host-mimicking pathogens if we can control tolerance. </p><p>Activated B cells can present antigen to T cells, as well as differentiate into memory B cells and plasma cells. Indeed, activated B cells express high levels of MHCII and are considered to be professional antigen presenting cells (APC), along with dendritic cells and macrophages. APC can be used to discover the epitopes targeted in T-cell responses; T cells are co-cultured with autologous APC in the presence of antigens and T-cell responses are evaluated. With numerous epitope candidates, mapping T-cell epitopes requires large numbers of APC; the availability of APC in blood is a limiting component and leukapheresis is often required. Since B cells can be expanded in vitro more easily than other APC, they represent a solution for the challenge of isolating adequate numbers of APC from blood in order to determine T-cell antigen specificity. I modified our single B-cell culture to support efficient activation and proliferation of both naïve and memory human B cells for the purpose of generating large numbers of autologous APC. Briefly, naïve or memory B cells recovered from blood are cultured with recombinant human IL-2, IL-4, IL-21, and BAFF on CD154+ feeder cells; this culture supports extensive B-cell proliferation, with approximately 103 fold increases following 8 days in culture, and 106 fold increases when cultures are split and cultured for 8 more days. The capacity for continued proliferation is stable for at least another week. In culture, a significant fraction of naïve B cells undergo isotype switching and terminally differentiate into plasmacytes. Culture-derived (CD) B cells are readily cryopreserved, and when recovered, retain their ability to proliferate and differentiate. Significantly, proliferating CD B cells express high levels of MHCII, CD80, and CD86. I have examined the APC function of CD B cells and found that they present both allo- and microbial antigens to autologous T cells with comparable efficiency to PBMC. Moreover, I am able to activate and expand antigen-specific memory B cells; these cultured cells are highly effective in presenting antigen to T cells. This culture method provides a platform for studying the BCR and TCR repertoires within a single individual.</p> / Dissertation

abstract: The purpose of this project was to: (1) describe a brief history of Salvation Army works for euphonium and piano that are relevant to the larger euphonium repertoire, and (2) produce a professional-quality compact disc recording of these works for study and reference. Part I of this project is an annotated bibliography discussing selected works for euphonium and piano written exclusively by Salvation Army composers. Each bibliographic entry is accompanied by a brief annotation, including information on each composer, hymn tunes used in each work, and difficulties encountered in performance. Part II of this project consists of a professional-level recording of these works. The recording and bibliography is intended to serve as a reference guide for students and teachers of Salvation Army euphonium literature, and is also intended to serve as a pedagogical tool utilized in the development of high school and university-level euphonium students. Five solos and one duet with piano accompaniment were selected for this project, works that represent a wide variety of Salvation Army compositional styles. The works also cover a wide range of technical and musical challenges, and are appropriate for study by both undergraduate and graduate students of music. All of the works are currently in publication as of this writing. The following works are included in this project: "The Song of the Brother" by Erik Leidzén, "Ransomed" by George Marshall, "Ochills" by Ernest Rance, "The Better World" by Norman Bearcroft, "Symphonic Rhapsody for Euphonium" by Edward Gregson, and "Timepiece" by Norman Bearcroft. / Dissertation/Thesis / Solo - The Song of the Brother / Solo - Ransomed / Solo - Ochills / Solo - The Better World / Solo - Symphonic Rhapsody / Duet - Timepiece / D.M.A. Music 2012

abstract: This study catalogues symphonies for wind band from the origin of the genre in the late eighteenth century through 2014. Wind bands include any mixed wind group of eight or more players. Works using the word "symphony" or its derivatives in the title are included in the study. A total of 1342 works that fit these criteria were identified. An annotated bibliography (Appendix A) includes detailed information about 695 of these works. Such information was not available for an additional 621 wind band symphonies; consequently, these works are listed in a second appendix that includes a list of sources for each work so that future researchers might investigate them further. The final appendix lists 26 wind band symphonies that are no longer available based on the author's current sources. The titles included in this study were found by examining many repertoire resources for the wind band, including previous studies of wind band symphonies and more comprehensive repertoire resources like the Heritage Encyclopedia of Band Music and the website "The Wind Repertory Project." Details of each piece in the annotated bibliography were found in their scores whenever possible. Contact with composers and publishers, through both their websites and direct correspondence, played a major role in this part of the study. The classified bibliography in this document sorts all of these sources categorically for easy reference. All parts of this document are intended as tools for conductors wishing to research or program symphonies for wind band. / Dissertation/Thesis / Doctoral Dissertation Music 2015

Master of Music / School of Music, Theatre and Dance / Augustin Muriago / This lecture-recital presents five pieces from the first two books of Elisenda Fabregas’ Album for the Young. These intermediate-level pieces are written in styles ranging from Renaissance to Modern periods. The goal in presenting these works is to analyze what technical and musical skills they develop, suggest ways to teach these pieces, and to explore their interaction with more traditional teaching repertoire. The lecture-recital presents—pedagogical exercises developed to target specific skills needed to play these pieces; performance practice for each genre represented; and finally, pairs each piece with pieces by Bartok, Bach, Czerny, Kahlua, Clementi, Tchaikovsky, Chopin, and Debussy. The works of Fabregas were chosen to promote the work of women composers and to expand the teaching repertoire that students and teachers are exposed to.

Made available in DSpace on 2014-06-11T19:27:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2006Bitstream added on 2014-06-13T19:35:36Z : No. of bitstreams: 1 vertamatti_lrg_me_ia_parcial.pdf: 78081 bytes, checksum: 71bcdda6e98f0db2e35f53d803cad44f (MD5) Bitstreams deleted on 2015-07-02T12:36:03Z: vertamatti_lrg_me_ia_parcial.pdf,. Added 1 bitstream(s) on 2015-07-02T12:37:28Z : No. of bitstreams: 1 000467891_20201231.pdf: 68760 bytes, checksum: 11100cb5fd96ec6dbdaa358d0e3e7fe3 (MD5) / Universidade Estadual Paulista (UNESP) / 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 / 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