When Mormons arrived in northern Arizona among the Navajo and Hopi Indians in the late 1850s, Mormon-Indian relations were initially friendly. It was not too long, however, before trouble began in conflicts over water use and land rights. Federal agents would soon consider Mormons a threat to the peaceful Hopis because both the Navajo and Mormons were expanding their land claims. Indian agents relentlessly pleaded with Washington to establish a separate Indian reservation. They anticipated this reservation would satisfy all three parties, but its creation in 1882 only created more problems, climaxing in the 1892 death of Lot Smith at the hands of Atsidí, the local Navajo headman. Tensions continued to increase until federal agents intervened in 1900 and placed Tuba City under a Presidential Executive Order. The order withdrew Tuba City from white claims and resulted in the expulsion of the Mormons from Tuba City in 1903. My contribution is to show how the Navajo and Hopi Indians may have considered the coming of the Mormons as an invasion by a group of foreigners which led to the resulting contest between the trios for the limited natural resources of the northern Arizona desert. Tuba City/Moenkopi has a complicated history and its origins remain contested because it was claimed not only by Mormons, but also by the Navajos and Hopi. Previous historians have neglected the wealth of history that come from using Native American oral histories. This thesis will include the Native point of view but will also integrate it with Mormon and non-Mormon narratives. Doing so will provide another perspective on some of the following: the founding of Tuba City, the creation of the 1882 and 1900 Executive Orders for Navajo and Hopi reservation expansions, the death of the Mormon Lot Smith, and Native American-Mormon relations in the late 1800s in northern Arizona.

INTRODUÇÃO. Durante a última década, os avanços tecnológicos, o maior domínio da anatomia e das técnicas operatórias e de reconstrução da base do crânio por via endonasal propiciaram a expansão da cirurgia endoscópica para além dos limites da sela túrcica. O acesso transpterigóideo é uma etapa comum ao acesso as fossas cranianas média e posterior, e o conhecimento da anatomia endoscópica da artéria carótida interna (ACI) é um ponto fundamental e comum a estes acessos. OBJETIVO. Descrever a anatomia endoscópica relacionada ao acesso transpterigóideo e da ACI utilizando um modelo anatômico em cabeças cadavéricas frescas procurando definir os parâmetros seguintes: reparos anatômicos do acesso endoscópico a região supra e infrapetrosa, os limites para exposição endoscópica da ACI, os reparos anatômicos para localização dos seus segmentos lacerum, petroso e parafaríngeo. MÉTODOS. Foi realizado estudo anatômico em 20 espécimes (10 cabeças) de cadáveres frescos. As cabeças foram previamente preparadas com a injeção intravascular de silicone corado para enaltecer as estruturas vasculares (ACI, artéria maxilar e seus ramos e seio cavernoso). Em todos os casos foi realizado o acesso transpterigóideo às regiões supra e infrapetrosa, assim como a fossa infratemporal, e a dissecção endoscópica da ACI. RESULTADOS. A injeção de silicone corado no sistema arterial e venoso proporcionou modelo anatômico adequado para dissecção e documentação do acesso transpterigóideo assim como dos diferentes segmentos da ACI. A dissecção por etapas proporcionou exposição adequada da ACI do seu segmento cavernoso ao parafaríngeo distal. O acesso transpterigóideo forneceu exposição adequada do segmento lacerum da ACI e região suprapetrosa e seus principais reparos anatômicos foram o nervo vidiano, nervos maxilar e mandibular (V2, V3) e gânglio de Gasser. A exposição caudal da ACI (segmentos petroso e parafaríngeo) e região infrapetrosa requer maxilectomia medial para exposição e remoção de todo o processo pterigóideo, seguida pela ressecção da tuba auditiva e do tecido fibrocartilaginoso do forame lacerum. Os principais reparos anatômicos desta etapa foram a tuba auditiva e V3. CONCLUSÃO. Durante o acesso endoscópico à região suprapetrosa, o nervo vidiano, os ramos maxilar e mandibular do nervo trigêmeo (V2 e V3) e o gânglio de Gasser são reparos anatômicos para localização da artéria carótida interna e fossa craniana média. Durante o acesso endoscópico à região infrapetrosa, o tecido fibrocartilaginoso do forame lacerum, a tuba auditiva e o nervo mandibular (V3) são reparos anatômicos para identificação da artéria carótida interna. O acesso endoscópico endonasal por etapas permite acesso à artéria carótida interna extracraniana desde o segmento cavernoso até seu segmento parafaríngeo inferiormente ao nível do assoalho da cavidade nasal. O reparo anatômico para localização do segmento lacerum e porção horizontal do segmento petroso da ACI é o nervo vidiano; para as porções petrosa horizontal junto ao joelho posterior e canal carotídeo os reparos anatômicos são o nervo mandibular (V3), forame oval, tecido fibrocartilaginoso do forame lacerum e a tuba auditiva; para o segmento parafaríngeo os reparos anatômicos são o tronco posterior do nervo mandibular (V3) e a tuba auditiva / INTRODUCTION. During the last decade, the technological advances, the mastery of the anatomy and operative techniques and skull base reconstruction using endonasal approaches have propelled endoscopic surgery for beyond the limits of sella turcica. The transpterygoid approach is a common step of the endoscopic approach to the middle and posterior cranial fossa and knowledge of the endoscopic anatomy of the internal carotid artery (ICA) is a common and paramount point to these approaches. OBJECTIVE. Describe the endoscopic anatomy related to the transpterygoid approach and ICA using an anatomical model with fresh human cadaveric heads to define: anatomical landmarks related to the endoscopic supra and infrapetrous areas approach, limits for endoscopic exposure of the ICA, anatomical endoscopic landmarks to lacerum, petrous and parapharyngeal ICA segments. METHODS. An anatomical study was performed using 20 specimens (10 heads) of fresh cadaveric heads. The heads were previously prepared with the injection of colored silicone to enhance the vascular structures (ICA, maxillary artery and its branches and cavernous sinus). In all cases we performed the transpterygoid approach to the supra and infrapetrous areas, as well as the infratemporal fossa, and the endoscopic dissection of the ICA. RESULTS. The injection of colored silicone in the arterial and venous system provided an adequate anatomical model for dissection and documentation of the transpterygoid approach as well as the different segments of the ICA. A stepwise dissection provided adequate exposure of the ICA from its cavernous to the distal parapharyngeal segment. The transpterygoid approach provided adequate exposure of the lacerum segment of the ICA and suprapetrous area and the landmarks were the vidian nerve, maxillary and mandibular nerves (V2, V3) and the Gasserian ganglion. Exposure of the caudal ICA (petrous and parapharyngeal) and the infrapetrous area required a medial maxillectomy for exposure and resection of the entire pterygoid process, followed by the Eustachian tube and the fibrocartilaginous tissue of the foramen lacerum. The main anatomical landmarks to this step were V3 and the Eustachian tube. CONCLUSION. During the endoscopic approach to the suprapetrous area, the vidian nerve, the maxillary and mandibular divisions of the trigeminal nerve (V2, V3) and the Gasserian ganglion are the anatomical landmarks to the internal carotid artery and middle cranial fossa. During the endoscopic approach to the infrapetrous area, the fibrocartilaginous tissue of the foramen lacerum, the Eustachian tube and V3 are the landmarks to the internal carotid artery. A stepwise endoscopic endonasal approach provided access to the extracranial internal carotid artery from its cavernous to the parapharyngeal segment down to the level of the nasal fossa floor. The anatomical landmark to the lacerum and horizontal petrous segments of the internal carotid artery is the vidian nerve; to the horizontal petrous segment before the posterior bend and carotid canal, the anatomical landmarks are the mandibular nerve (V3), foramen ovale, fibrocartilaginous tissue of the foramen lacerum and the Eustachian tube; to the parapharyngeal segment, the anatomical landmarks are the posterior trunk of the mandibular nerve (V3) and the Eustachian tube

There is no abstract available for this dissertation. / School of Music

INTRODUÇÃO. Durante a última década, os avanços tecnológicos, o maior domínio da anatomia e das técnicas operatórias e de reconstrução da base do crânio por via endonasal propiciaram a expansão da cirurgia endoscópica para além dos limites da sela túrcica. O acesso transpterigóideo é uma etapa comum ao acesso as fossas cranianas média e posterior, e o conhecimento da anatomia endoscópica da artéria carótida interna (ACI) é um ponto fundamental e comum a estes acessos. OBJETIVO. Descrever a anatomia endoscópica relacionada ao acesso transpterigóideo e da ACI utilizando um modelo anatômico em cabeças cadavéricas frescas procurando definir os parâmetros seguintes: reparos anatômicos do acesso endoscópico a região supra e infrapetrosa, os limites para exposição endoscópica da ACI, os reparos anatômicos para localização dos seus segmentos lacerum, petroso e parafaríngeo. MÉTODOS. Foi realizado estudo anatômico em 20 espécimes (10 cabeças) de cadáveres frescos. As cabeças foram previamente preparadas com a injeção intravascular de silicone corado para enaltecer as estruturas vasculares (ACI, artéria maxilar e seus ramos e seio cavernoso). Em todos os casos foi realizado o acesso transpterigóideo às regiões supra e infrapetrosa, assim como a fossa infratemporal, e a dissecção endoscópica da ACI. RESULTADOS. A injeção de silicone corado no sistema arterial e venoso proporcionou modelo anatômico adequado para dissecção e documentação do acesso transpterigóideo assim como dos diferentes segmentos da ACI. A dissecção por etapas proporcionou exposição adequada da ACI do seu segmento cavernoso ao parafaríngeo distal. O acesso transpterigóideo forneceu exposição adequada do segmento lacerum da ACI e região suprapetrosa e seus principais reparos anatômicos foram o nervo vidiano, nervos maxilar e mandibular (V2, V3) e gânglio de Gasser. A exposição caudal da ACI (segmentos petroso e parafaríngeo) e região infrapetrosa requer maxilectomia medial para exposição e remoção de todo o processo pterigóideo, seguida pela ressecção da tuba auditiva e do tecido fibrocartilaginoso do forame lacerum. Os principais reparos anatômicos desta etapa foram a tuba auditiva e V3. CONCLUSÃO. Durante o acesso endoscópico à região suprapetrosa, o nervo vidiano, os ramos maxilar e mandibular do nervo trigêmeo (V2 e V3) e o gânglio de Gasser são reparos anatômicos para localização da artéria carótida interna e fossa craniana média. Durante o acesso endoscópico à região infrapetrosa, o tecido fibrocartilaginoso do forame lacerum, a tuba auditiva e o nervo mandibular (V3) são reparos anatômicos para identificação da artéria carótida interna. O acesso endoscópico endonasal por etapas permite acesso à artéria carótida interna extracraniana desde o segmento cavernoso até seu segmento parafaríngeo inferiormente ao nível do assoalho da cavidade nasal. O reparo anatômico para localização do segmento lacerum e porção horizontal do segmento petroso da ACI é o nervo vidiano; para as porções petrosa horizontal junto ao joelho posterior e canal carotídeo os reparos anatômicos são o nervo mandibular (V3), forame oval, tecido fibrocartilaginoso do forame lacerum e a tuba auditiva; para o segmento parafaríngeo os reparos anatômicos são o tronco posterior do nervo mandibular (V3) e a tuba auditiva / INTRODUCTION. During the last decade, the technological advances, the mastery of the anatomy and operative techniques and skull base reconstruction using endonasal approaches have propelled endoscopic surgery for beyond the limits of sella turcica. The transpterygoid approach is a common step of the endoscopic approach to the middle and posterior cranial fossa and knowledge of the endoscopic anatomy of the internal carotid artery (ICA) is a common and paramount point to these approaches. OBJECTIVE. Describe the endoscopic anatomy related to the transpterygoid approach and ICA using an anatomical model with fresh human cadaveric heads to define: anatomical landmarks related to the endoscopic supra and infrapetrous areas approach, limits for endoscopic exposure of the ICA, anatomical endoscopic landmarks to lacerum, petrous and parapharyngeal ICA segments. METHODS. An anatomical study was performed using 20 specimens (10 heads) of fresh cadaveric heads. The heads were previously prepared with the injection of colored silicone to enhance the vascular structures (ICA, maxillary artery and its branches and cavernous sinus). In all cases we performed the transpterygoid approach to the supra and infrapetrous areas, as well as the infratemporal fossa, and the endoscopic dissection of the ICA. RESULTS. The injection of colored silicone in the arterial and venous system provided an adequate anatomical model for dissection and documentation of the transpterygoid approach as well as the different segments of the ICA. A stepwise dissection provided adequate exposure of the ICA from its cavernous to the distal parapharyngeal segment. The transpterygoid approach provided adequate exposure of the lacerum segment of the ICA and suprapetrous area and the landmarks were the vidian nerve, maxillary and mandibular nerves (V2, V3) and the Gasserian ganglion. Exposure of the caudal ICA (petrous and parapharyngeal) and the infrapetrous area required a medial maxillectomy for exposure and resection of the entire pterygoid process, followed by the Eustachian tube and the fibrocartilaginous tissue of the foramen lacerum. The main anatomical landmarks to this step were V3 and the Eustachian tube. CONCLUSION. During the endoscopic approach to the suprapetrous area, the vidian nerve, the maxillary and mandibular divisions of the trigeminal nerve (V2, V3) and the Gasserian ganglion are the anatomical landmarks to the internal carotid artery and middle cranial fossa. During the endoscopic approach to the infrapetrous area, the fibrocartilaginous tissue of the foramen lacerum, the Eustachian tube and V3 are the landmarks to the internal carotid artery. A stepwise endoscopic endonasal approach provided access to the extracranial internal carotid artery from its cavernous to the parapharyngeal segment down to the level of the nasal fossa floor. The anatomical landmark to the lacerum and horizontal petrous segments of the internal carotid artery is the vidian nerve; to the horizontal petrous segment before the posterior bend and carotid canal, the anatomical landmarks are the mandibular nerve (V3), foramen ovale, fibrocartilaginous tissue of the foramen lacerum and the Eustachian tube; to the parapharyngeal segment, the anatomical landmarks are the posterior trunk of the mandibular nerve (V3) and the Eustachian tube

Traditional scholarship has stated that the serpent and ophicleide (as well as their successor, the tuba) were developed and added to the standard orchestra to add a bass voice to the brass, allowing a tonal compass to match a similar downward expansion in the strings and woodwinds. A closer reading of the earliest scores calling for these instruments reveals a more coloristic purpose, related to timbre as much as to compass. Indeed, the fact that composers rarely wrote for serpent and ophicleide makes two points: it proves them to be inadequate choices as a brass bass, and when they were called for, they had an expressive, often descriptive purpose. Despite his conservative musical education supervised by Carl Friedrich Zelter, the seventeen-year-old Mendelssohn, under the influence of A. B. Marx, used the Corno inglese di basso, an upright version of the serpent, in his Overture to A Midsummer Night's Dream to give a more rustic flavor to Bottom's ass-braying. Even when the English bass horn functioned as a bass voice, it was playing in contexts that were descriptive, where it often demonstrated its musical inadequacy. Berlioz's descriptive writing for the serpent and ophicleide are well known. A remarkable feature which Symphonie fantastique shares with works by the other composers is the confidence Berlioz showed in the ophicleide's functional independence by occasionally giving it an arpeggiated figure while the rest of the orchestra sustains the chord. Wagner's writing for the serpent and ophicleide in Rienzi follows the less imaginative conventions of French grand opera. In Der fliegende Holländer the ophicleide, while not used as descriptively as Mendelssohn and Berlioz, nevertheless contributes significantly to Wagner's emerging focus on the inner lives of his characters and expressive commentary on the stage action. Tubists should consider the expressive implications and the unique timbre of these instruments when performing works originally written for the forerunners of the tuba.

[ES] La autonomía y prestigio que han ido adquiriendo las bandas de música en la sociedad actual son tan merecidos como frutos de un largo y costoso camino recorrido. Incluso el acceso a las plantillas profesionales se ha ido adaptando a la propia idiosincrasia de la banda, exigiendo interpretar en las pruebas de acceso fragmentos del repertorio original para banda, algo que se ha intensificado en la especialidad de tuba en los últimos años. No obstante, parece ser que ni la metodología ni la formación ofrecida en los centros educativos sigue el ritmo de esta realidad cambiante, a lo que se añade un interés creciente de los compositores desde finales del siglo XX por otorgarle a la tuba mayor protagonismo, escribiéndole solos y otros pasajes destacados dentro de sus obras para banda sinfónica. Y para comprobarlo, este trabajo presenta dos estudios principales. El primero, está dedicado a analizar el acceso a una banda de música profesional en España para la especialidad de tuba, con especial interés en el repertorio exigido para interpretar en el ejercicio práctico. Y el segundo estudio, se plantea para examinar el Plan de Estudios de las Enseñanzas Artísticas Superiores de Música y la Guías Docentes de los conservatorios y escuelas superiores de música, así como el trabajo que desarrollan en el aula de tuba los profesores, respecto del repertorio sinfónico-bandístico. Los resultados de ambos motivan la realización de un tercer estudio, basado en la selección, justificación y análisis de fragmentos destacados de la tuba dentro del repertorio sinfónico para banda, los cuales se presentan como propuesta pedagógica en un capítulo complementario a la propia investigación. El objetivo del conjunto de esta tesis es seguir valorando y difundiendo el repertorio para banda sinfónica en general, y en la especialidad de tuba en particular, ante la discordante e injustificable realidad acaecida hasta la actualidad entre el ámbito académico y el laboral. Además, si lo que se persigue es conseguir futuros profesionales de la música completos y versátiles, deben estar totalmente preparados para un mundo tan competitivo y exigente como el que se vive. / [CA] L'autonomia i el prestigi que han anat adquirint les bandes de música a la societat actual són tan merescuts com fruits d'un llarg i costós camí recorregut. Fins i tot l'accés a les plantilles professionals s'ha anat adaptant a la pròpia idiosincràsia de la banda, exigint interpretar a les proves d'accés fragments del repertori original per a banda, cosa que s'ha intensificat en l'especialitat de tuba els darrers anys. No obstant això, sembla que ni la metodologia ni la formació oferida als centres educatius segueix el ritme d'aquesta realitat canviant, a la qual cosa s'afegeix un interès creixent dels compositors des de finals del segle XX per atorgar-li a la tuba més protagonisme, escrivint-li solos i altres passatges destacats dins de les seues obres per a banda simfònica. I per comprovar-ho, aquest treball presenta dos estudis principals. El primer, està dedicat a analitzar l'accés a una banda de música professional a Espanya per a l'especialitat de tuba, amb un interès especial en el repertori exigit per interpretar en l'exercici pràctic. I el segon estudi, es planteja per examinar el Pla d'Estudis dels Ensenyaments Artístics Superiors de Música i les Guies Docents dels conservatoris i escoles superiors de música, així com el treball desenvolupat a l'aula de tuba pels professors, respecte del repertori simfònic-bandístic. Els resultats de tots dos motiven la realització d'un tercer estudi, basat en la selecció, justificació i l'anàlisi de fragments destacats de la tuba del repertori simfònic per a banda, els quals es presenten com a proposta pedagògica en un capítol complementari a la pròpia investigació. L'objectiu del conjunt d'aquesta tesi és continuar valorant i difonent el repertori per a banda simfònica en general, i en l'especialitat de tuba en particular, davant de la discordant i injustificable realitat esdevinguda fins avui entre l'àmbit acadèmic i el laboral. A més, si el que es vol és aconseguir futurs professionals de la música complets i versàtils, han d'estar totalment preparats per a un món tan competitiu i exigent com el que es viu. / [EN] The autonomy and prestige that wind bands have been acquiring in today's society are as well-deserved as the fruits of a long and arduous journey. Even access to professional staff has been adapted to the band's idiosyncrasies, demanding to play excerpts from the original repertoire for wind band in the auditions, something that has intensified for tuba in recent years. However, it seems that neither the methodology nor the training offered in educational centres keeps pace with this changing reality. In addition, composers have been interested since the end of the 20th century in giving the tuba greater prominence, writing solo passages and other outstanding excerpts within his/her works for symphonic bands. Furthermore, to prove it, this work presents two primary studies. The first is dedicated to analysing the access to a professional wind band in Spain for the tuba chair, with a particular interest in the repertoire required to play in the practical exercise. Moreover, the second study is proposed to examine the Syllabus of the Higher Artistic Education of Music and the Teaching Guides of the conservatories and higher schools of music, as well as the work developed in the tuba class regarding the specific repertoire for symphonic wind band. The results of both motivate the realisation of a third study, based on the selection, justification and analysis of significant excerpts for tuba of the symphonic repertoire for wind band, which are presented as a pedagogical proposal in a complementary chapter to the research itself. This thesis aims to continue valuing and disseminating the repertoire for symphonic wind bands in general, and for tuba in particular, in the face of the harsh and unjustifiable reality that has occurred until now between the academic and labour spheres. In addition, if what is sought is to achieve complete and versatile future professional musicians, they must be fully prepared for a world as competitive and demanding as the one we live in. / Monteagudo Mañas, J. (2022). La evolución del papel de la tuba en la banda sinfónica: selección, justificación y análisis de fragmentos destacados para una propuesta de aplicación pedagógica [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/191450

The euphonium has been an integral part of wind bands and brass bands for more than a century. During this time the instrument has grown in stature in both types of band, as an ensemble member and a solo instrument. Until recently, however, the instrument has been underrepresented in orchestral literature, although a growing number of composers are beginning to appreciate the characteristics of the instrument. The purpose of this research is to explore the perceived rise of the euphonium in an orchestral environment through analyzing the significance of the role it plays within Lorin Maazel's Music for Flute with Tenor Tuba Obbligato (1995) and Karl Jenkins' Cantata Memoria (2005); specifically, how the euphonium contributes to the orchestral scores in relation to its capabilities as an instrumental voice.