O presente trabalho investiga a interpretação do bambuco Florecita del camino do colombiano Jaime Romero (1966) para violão solo, uma vez que foi concebido pelo próprio compositor originalmente para trio típico colombiano, ou seja, para três instrumentos de cordas. O gênero bambuco é o maior representante da música andina colombiana. Para esta pesquisa apresento dados sobre a forma e a estrutura do bambuco e, analisei e comparei a versão original com a de violão solo. Dois artigos escritos pelo próprio compositor, assim como uma entrevista serviram de base para o trabalho. Para auxiliar na interpretação deste bambuco, criei exercícios e micro estudos para confrontar as dificuldades técnicas que encontrei, incluindo digitações, e dificuldades expressivas desta obra. Este material pretende não só ajudar o intérprete ao se deparar com bambucos, como divulgar o gênero da música andina colombiana. / The purpose of this study is to investigate the interpretation of the bambuco Florecita del camino by the Columbian composer Jaime Romero (b. 1966) for solo guitar. It was originally composed for the Columbian trío típico, by the same composer, for three stringed instruments. The bambuco is the most representative of Columbian music of the Andes. Information about the form and structure of the bambuco were presented, as well as an analysis and comparison of the original version with the guitar solo version. Two articles by the composer and an interview served as the basis of this work. As for the interpretation of the bambuco, I created exercises and microstudies to overcome the technical difficulties I encountered, including fingering, as well as expressive difficulties in the piece. This material may be used to help those learning to perform the bambuco, making this genre of Columbian music of the Andes more accessible to listeners, as well.

Throughout an adult life that witnessed drastic cultural upheaval between the Civil War and World War I, Bertha Honoré Palmer (1849-1918) was continually called on to deploy her Victorian values in response to modern events. Being a woman only complicated this negotiation. But being a child of the American frontier granted her a latitude and mobility that were rare for women of her class and era – allowing her to challenge gender boundaries and occupy more than one cultural space at a time. Most of what has been written about Bertha Palmer’s life has been exceptionalist in approach and tone, ascribing her outsized social and political successes to her physical beauty and perfection of temperament. I believe Bertha Palmer’s importance as a crucial transitional bridge between True Woman and New Woman has been underestimated in this discourse. Near the end of her life, a move to Florida offered her the potential to resolve the inside/outside, domestic/public, feminine/masculine dialectics that lay at the heart of her restless movements. These contradictions and dichotomies that Bertha Palmer embodied on a grand scale do more to make her knowable to us today than the record of her words and actions can accomplish. Both her Victorian reticence and her modernistic construction of a seamless public façade have a way of hindering our best efforts to understand her motivations – especially the choice to move to Florida – despite a wealth of biographical material, including her correspondence housed in Chicago and Sarasota history centers, and contemporary news accounts. In the end, the cultural history of the Gilded Age gives us the only reliable lens for penetrating the veneer of Bertha Palmer.

O presente trabalho investiga a interpretação do bambuco Florecita del camino do colombiano Jaime Romero (1966) para violão solo, uma vez que foi concebido pelo próprio compositor originalmente para trio típico colombiano, ou seja, para três instrumentos de cordas. O gênero bambuco é o maior representante da música andina colombiana. Para esta pesquisa apresento dados sobre a forma e a estrutura do bambuco e, analisei e comparei a versão original com a de violão solo. Dois artigos escritos pelo próprio compositor, assim como uma entrevista serviram de base para o trabalho. Para auxiliar na interpretação deste bambuco, criei exercícios e micro estudos para confrontar as dificuldades técnicas que encontrei, incluindo digitações, e dificuldades expressivas desta obra. Este material pretende não só ajudar o intérprete ao se deparar com bambucos, como divulgar o gênero da música andina colombiana. / The purpose of this study is to investigate the interpretation of the bambuco Florecita del camino by the Columbian composer Jaime Romero (b. 1966) for solo guitar. It was originally composed for the Columbian trío típico, by the same composer, for three stringed instruments. The bambuco is the most representative of Columbian music of the Andes. Information about the form and structure of the bambuco were presented, as well as an analysis and comparison of the original version with the guitar solo version. Two articles by the composer and an interview served as the basis of this work. As for the interpretation of the bambuco, I created exercises and microstudies to overcome the technical difficulties I encountered, including fingering, as well as expressive difficulties in the piece. This material may be used to help those learning to perform the bambuco, making this genre of Columbian music of the Andes more accessible to listeners, as well.

No description available.

No description available.

Music is a powerful force. It highlights social hierarchies and relationships. It is a means by which the ordinary everyday can be transformed into the sacred. It has the ability to change our daily routine. How though, was music used, and in what ways did it function in the courtly society of the ancient Maya? In Classic Maya iconography we frequently find scenes of dance performance, ritual, or palace scenes depicted with musicians. Rarely however, are musicians the central focus of the action taking place. Were Maya musicians simply a background ‘soundtrack’ to the primary action unfolding or were they an integral part of Maya courtly life?This thesis conducts an iconographical analysis of the representations of music, musical instruments, and musicians among the Maya along with the consideration of archaeological evidence. The evidence considered comes primarily from the iconography of musicians and musical instruments depicted on several painted ceramic vessels but also takes into consideration iconography found in the murals of Bonampak and the paintings at Naj Tunich Cave, as well as archaeological evidence that appears in the form of preserved instruments at sites such as Pacbitun and the Copan Valley. For the ancient Maya, music was segmented. This is seen in the types of instruments and their groupings as portrayed in Maya iconography. These groupings denote differing categories of musical forms and functions which pertain to particular settings, such as interior palace settings as compared to exterior public settings.In exploring these images, many characteristics common to the depiction of musicians in interior palace settings become apparent that are not see in depictions of musicians in exterior public settings. First, the musicians are depicted kneeling, seated, or standing still. Second, they are located furthest from the most prominent figure. Third, acoustics do not affect instrument choice. Fourth, the form of attire varies more greatly in interior settings than in exterior settings. Finally, the order of instruments remains as standard as those in exterior settings. These scenes provide further evidence of instrument specialization and musical segmentation in Maya music and emphasize the significance music held in Ancient Maya Culture. / text

The function of a ceramic vessel is often evaluated in relation to its form. Vessels with complex forms can be challenging to analyze from this perspective and require a different approach. One such example is an overlooked yet long-lived specialized vessel type in the form of conjoined lúcuma fruits found throughout the ancient Andes. The main object of this study is a Nasca version of this vessel type in the Virginia Museum of Fine Art. This study explores the relationship between form and iconography, rather than function. It examines how Nasca potters adopted the conjoined lúcuma form vessel and adapted it to into their fertility iconography.

L’impact actuel de l’Homme sur la biosphère affecte l’ensemble des organismes vivants et des milieux. Il est souvent considéré comme étant à l’origine de la 6ème crise d’extinction de masse. La quantification des effets de ce phénomène est cependant complexe car certains ont débuté bien avant que les scientifiques ne s’intéressent à ces questions et ne produisent des données de référence. Ce problème est tout particulièrement manifeste dans les milieux les plus fragiles, telles que les îles, dont les écosystèmes ont pu être bouleversés par l’Homme de manière très rapide et cela avant que leur biodiversité n’ait été documentée. Dans ce cas, les ossements fossiles s’avèrent être les uniques vestiges témoignant de l’existence passée de faunes parfois éteintes. Ils deviennent donc l’unique fenêtre permettant d’entrevoir la biodiversité ancienne de ces milieux. Mon travail de thèse se questionne sur la biodiversité passée au sein de l’archipel de la Guadeloupe (Antilles françaises) à travers l’exemple des reptiles squamates (lézards et serpents). L’étude de près de 40 000 ossements issus de 31 sites archéologiques et paléontologiques datant de la fin du Pléistocène (30 000 B.P.) à nos jours, a permis de mettre en évidence l’évolution de la diversité de ces vertébrés dans le temps ainsi que de leurs relations avec les différentes populations humaines. Ces résultats ont été obtenus grâce à l’utilisation de diverses méthodes (anatomie comparée, morphométries traditionnelle et géométrique, paléohistologie et archéozoologie, récits des premiers voyageurs) et grâce au développement d’approches méthodologiques spécifiques aux squamates. Les données obtenues font état de l’impact limité sur les faunes par les populations humaines amérindiennes ayant occupé la Guadeloupe pendant plus de 4000 ans jusqu’au 17éme siècle. En effet, bien qu’ayant chassé certains squamates (iguanes et améives) et probablement participé à un enrichissement de la faune, les Amérindiens ne semblent pas avoir contribué à appauvrir la biodiversité des squamates guadeloupéens. En revanche, les données fossiles plus récentes démontrent un fort impact sur les faunes de squamates exercé par les populations européennes qui colonisent ces îles à partir du XVIIème siècle. L’effet de cette seconde vague de colonisation se manifeste par la transformation morphologique de certains taxons (réduction de taille, réduction de variabilité morphologique) et par une série d’extinctions totales ou partielles d’espèces (restriction d’aire géographique). Ainsi, le taux d’extinction des squamates de Guadeloupe est estimé entre 47 et 56% depuis 300 ans. Cette vague d’extinctions s’oppose à l’apparente stabilité de la faune des squamates que révèle le registre fossile du Pléistocène et de la première moitié de l’Holocène. Ces résultats démontrent l’intérêt de l’étude minutieuse des faunes fossiles récentes pour une meilleure compréhension de l’impact de l’Homme sur son milieu au cours du temps, un domaine encore relativement peu développé, tout particulièrement pour ce qui concerne les squamates. / Current human impact on the biosphere affects all living organisms and environments. This global phenomenon is often considered as the origin of the 6th mass earth extinction crisis. Yet, the quantification of the effects of this crisis can be problematic because it started long before scientists started to investigate it and to produce reference data. This issue is especially obvious in fragile ecosystems, like islands, which environments could have been quickly modified in relation with anthropogenic phenomena before their biodiversity can have been described. In this case, fossil bones are often the sole remaining remains of past ecosystems and the only possibility to study them. My PhD work is interested in squamate (snakes and lizards) past biodiversity of the Guadeloupe Islands (French West Indies). I studied more than 40 000 fossil bones of squamates from 31 archaeological and paleontological deposits dated from Late Pleistocene (40 000 B. P.) to nowadays. My study reveals the evolution of the diversity of these reptiles along with their relations with past human populations. The results are obtained using several methods (comparative anatomy, traditional and geometric morphometrics, paleohistology and zooarchaeology) and thanks to new methodological tools I developed dedicated to the study of squamate bone remains. My results show the limited impact on squamate faunas of Amerindian human populations who inhabited Guadeloupe islands during more than 4 000 years. Indeed, although these populations seem to have hunted some squamates (iguanas and ameivas) and slightly contributed to enrich squamate diversity, they do not seem to be the cause of any extinction event. At the opposite, European populations who colonized Guadeloupe Islands since the XVIIth century strongly impacted the native squamate biodiversity. These effects take the forms of morphological modification of some taxa (size reduction, reduction of morphological variability) and partial (decrease of geographic distribution) or total extinction of many taxa. Indeed, the extinction rate of squamates species in Guadeloupe during the last 300 years is estimated between 47 and 56%. This recent mass extinction phenomenon strongly contrasts with the apparent stability of the squamate diversity between Pleistocene and the first half of Holocene revealed by fossil data. These results show the interest of studying late quaternary fossil faunas to better understand the impact of Human on its environment, a field of research still largely underdeveloped especially concerning squamates.

Columbian sharp-tailed grouse (Tympanuchus phasianellus columbianus: hereafter sharp-tailed grouse) populations have been declining. These declines have been attributed to a number of factors, including habitat loss due to agriculture, habitat fragmentation, overgrazing by livestock, and the loss to fire. To gather information about their status in northern Utah, I radio-marked sharp-tailed grouse in 2003 (n=15) and 2004 (n=20) in two research areas. The study areas were located on the south end of Cache County and in eastern Box Elder County. In the Cache study area, I monitored 7 males and 1 female in 2003, and 6 males and 3 females in 2004. In the Box Elder study area, I monitored 6 males in 2003 and 6 males and 5 females in 2004. I then located the radio-marked sharp-tailed grouse using telemetry and collected Visual Obstruction Readings (VOR) and vegetation data on each flush site and on a randomly selected paired point. I completed an unsupervised classification of the two study areas to determine if habitats were used more than would be expected based on availability. I then used a paired point linear regression to determine if vegetation parameters were correlated with sharp-tailed grouse on the landscape. Sagebrush in the Box Elder County study area and forbs in the Cache County study area were significantly correlated with habitat use by sharp-tailed grouse. The VOR readings were higher at the flush sites than at the paired points. The unsupervised classification showed that in Box Elder County, sagebrush was used in greater proportion than is available, while in the Cache County study area there were no habitat types that were used in greater proportion than was available on the landscape. I collected information on nest sites, nest success, broods, and mortality of these 2 populations. Nest success was 75% combined over the 2-year study, and mortality was 72% for both populations over the 2 years. Seasonal habitat use and distance travelled were determined using Global Positioning System points collected at every flush point. The distance traveled ranged from 0.9 km to 14.7 km, with the longest distance being travelled in the winter.

In this dissertation, I wrestle with how literature has helped frame how modern cities have been understood, and how neighborhood change within them has been interpreted, since the dawn of the modern city in the early twentieth century U.S. Moving from Chicago at the time of the 1893 World’s Columbian Exposition to 1920s Harlem, to postwar Chicago, then back again to 1960s-era Harlem before focusing on the first “brownstoning” era in Brooklyn, I analyze how literature has shaped and contested the terms through which urban neighborhood change was and still is understood—terms like “community,” “integration,” “segregation,” and, on a more housing-specific note, “tenements” and “slums.” Its aim is to demonstrate the necessity of applying close reading to cities in order to understand and address urban problems appropriately in light of their context(s). It also seeks to illustrate how literature can be and has been used as a tool for imagining more equal and more just forms of cities, forms occasionally reached for but never fully attained.