Title: The relationship of BMI and body composition parametres in UK FTVS students Objectives: The main goal of this diploma thesis is to evaluate the relationship between BMI and some selected parameters of body composition assessed using a bioelectric impedance device (BIA - Tanita MC - 980). Methods: The diploma thesis has the character of an empirical research (observation method). The bioelectric impedance method (BIA - Tanita - MC - 980) was used to analyze the body composition. The relationships between BMI values and individual body composition parameters were evaluated using the Spearman's correlation coefficient. The statistical significance level was set at α = 0,05. In total, 170 students were studied (85 physiotherapy students, 85 physical education students). The group was further subdivided into several specific subgroup by gender, field of study and physical activity. Results: The results revealed a series of finding within the sample group including the following: an insignificant correlation (rs = 0,062) between BMI and body fat (%), a significant correlation (rs = 0,386) between BMI and fat mass (kg), a significant correlation (rs = 0,603) between BMI and visceral fat, a significant correlation (rs = 0,624) between BMI and fat-free mass (kg), a significant correlation (rs =...

The purpose of this research was to explore historical perspective of brass music. There is a brief history of brass bands in Britain. Furthermore, the paper examines the differences between two brass band pieces in the repertoire, A Western Fanfare by Eric Ewazen and Brass Symphony by Jan Koetsier. Both of these pieces were compared and contrasted against the author's newly composed work for brass, Two Companion Pieces for Brass Ensemble. The paper covers different techniques commonly used in brass writing and points these techniques out in all three pieces.

Symphony in Three movements is an orchestra work scored for two flutes, two oboes, two clarinets in Bb, two bassoons, two horns in F, three trumpets in Bb, three trombones, one tuba, percussion and strings. The percussion consists of timpani, vibraphone, temple block, tom-tom, suspended cymble, bass drum, and gong. The piece is not based on any non-musical image. The three movements of this work, I.(variation-like) II.(ternary) III.(fantasia-like), are based on the combination of the solemn ceremonial atmosphere of Korean music and early twentieth-century Western music.

Thesis (Ph.D.)--Boston University

The thesis examines the role of music in South African film pertaining to representation of identity of South African peoples and cultures, from the country's earliest sound films until the industry expansion of the 1970s. Chapter 1 contextualizes the study in relation to South African film and music, mainstream (Hollywood) film music theory/analysis/history, and national film music studies outside the Hollywood context. Chapter 2 provides an analysis of nationalist trends in South African silent film and the transition to sound film. The subsequent two chapters analyse the filmic use of rural and urban African music as tools of representation of African identity across a continuum of films, from earlier colonial/Afrikaner nationalist-oriented films to later films with an explicitly anti-apartheid message. The final chapter returns to the themes of Chapter 2, exploring film-musical representation of Afrikaner nationalism. As with Chapters 3 and 4, the source material is eclectic, covering a broad spectrum of techniques to promote a nationalist agenda. The study reaches four principal findings. Firstly, film-musical representation of African identity develops nuance over time, as African subjects succeed in moving from being represented to achieving some self-representation. This representation remains within the ambit of diegetic music, however, and frequently maintains a subject/object relationship regarding white/black representation. Secondly, the use of diegetic African music functions as a form of othering, creating an illusion of representational "authenticity" while in practice ensuring the music remains external to the filmmakers' expressive universe, relegating it to the role of "ethnic" colour rather than engagement with characters' psychologies. Thirdly, film music is implicated in issues of land rights: rural African music questions the legitimacy of "whites only" city spaces, and is metaphorical of population displacement from rural to urban locales. Conversely, nationalist films use pastoral tropes to reimagine rural African spaces through European conceptualizations of "tamed" land, and sentimentalize spaces through song to lay claim to them through emotional ties. Fourthly, it evaluates African music's potential to function as dramatic, narrative, extradiegetic underscore, showing how this was partly achieved by certain films of the period, with possible implications for contemporary mainstream film scoring.

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<p>The Food Processing and Postharvest Handling Innovation Lab (FPIL) project seeks to reduce food loss and link up consumers with food-to-food fortified instant products that are enriched with micronutrient sources that target vitamin A, zinc, and iron deficiencies. These are mostly maize-based products, but may be combined with other cereals, such as sorghum, and pseudocereals, such as amaranth. The general goal of this thesis study was to facilitate the adoption of extrusion technology to process instant flours, assess the acceptance and willingness to pay (WTP) for these products, and to assess the health impacts of the products on gut health. A low-cost, single-screw extruder was used that was developed at Purdue, and has been placed in different locations in Africa country study sites. The first study aimed to optimize process conditions of a low-cost single-screw extruder, currently done at 35% feed moisture, for African small- to medium-scale entrepreneurs to produce good quality and low-cost pregelatinized instant pearl millet porridge flours and other whole grains by relating feed moisture (27, 29, 31, 33, and 35%) to extrusion energy, drying time and physicochemical properties. We found that we could lower the feed moisture to 27% and still attain good pasting profiles of the porridges, reduce drying time, have better expansion of the extrudates, obtain increased <i>L</i>* color values of the flours, and with a higher extrusion energy but lower drying time. In conclusion, the single screw extruder can be efficiently operated at 27% feed moisture compared to the currently used 35% feed moisture and obtain instant flours with desired quality. It is not known whether higher extrudate energy consumption may be offset by the lower drying time representing lower drying energy. In the second study, we investigated extrusion enhance <i>in vitro</i> fecal fermentation of maize bran, which has been characterized by a poor gut microbiota fermentation property due to its highly crosslinked and densely branched arabinoxylan chemical structure, making it poorly available to the gut microbiota. We hypothesized that this dense cell wall matrix can be opened for better fermentation by applying extrusion. Test conditions of a twin-screw extruder at Purdue were low (200 RPM) and high (400 RPM) shear rates applied to a maize meal and bran mixture (60:40) at different feed moisture conditions (20, 25, 30%). <i>In vitro</i> fermentation of test materials was conducted on stool samples from three donors. Extrusion increased total short chain fatty acids and produced individualized donor effects on the gut microbiota. Some extruder test condition effects were observed on certain bacteria. For example, extrusion at 30% feed moisture and 400 RPM tended to increase genera of <i>Subdoligranulum</i> and <i>Eubacterium hallii</i> and <i>Ruminococcus</i> <i>torques</i> groups in Donor 1 compared to non-extruded bran. There was also a trend of increase in <i>Subdoligranulum</i> and <i>Blautia</i> in extruded compared to non-extruded bran in Donor 2. In Donor 3, <i>Lachnospiraceae NK4A136</i> group was increased at 20 and 25% feed moistures at 200 RPM and 30% feed moisture at 400 RPM compared to non-extruded bran. In the final study, we investigated the acceptance and WTP for instant fortified flours using the Becker-DeGroot-Marschak mechanism when consumers are incrementally given nutrition information and demonstration how to reconstitute instant flours. This study was conducted in Eldoret, Kenya. Participants preferred the fortified thick porridge higher in maize content than fortified thin porridge prepared from the same blend. Contrarily, thin porridge made from fortified flour with higher sorghum content was ranked more highly than for the corresponding thick porridge. Participants were willing to pay more for instant fortified products higher in sorghum when given product name and nutrient composition, even without a practical demonstration of how to reconstitute the flours. For the instant product higher in maize, consumers needed demonstration of how to reconstitute the instant flour for them pay a higher premium. These findings suggest that food-to-food fortified instant porridge flours have the potential to be adopted and can be used as a vehicle to deliver micronutrients to these populations and that extrusion somewhat enhances fermentation of whole grain fibers by the gut microbiome.</p>

The purpose of this study was to examine 7th-grade composers’ strategies, processes, and perceptions, and the compositions they created using music technology in a constructionist-oriented learning environment. This embedded multiple case study examined the composition activities of eight 7th-grade students with varied musical backgrounds. During the 10-week data collection period, participants composed music using Hyperscore software underpinned by a constructionist-oriented theoretical framework. Hyperscore facilitates intuitive music composition and enables a composer to notate music with graphic notation without the need for understanding conventional music notation. I found that novice composers with relatively little to no formal musical training or experience creating original music could produce compositions emulating the strategies of professional composers. I also concluded that participants relied on inspiration as do professional composers and were able to intuitively and successfully create compositions including multiple sonic elements with minimal guidance and instruction. Participants exhibited evidence of thinking in and about sound. Findings also alerted future music educators and researchers to the potential of graphic notation software such as Hyperscore to undermine thinking in sound because of its unique sketch-oriented design that might emphasize symbol (i.e., drawing) before sound. I found that technology effectively scaffolded two participants’ processes. Contrastingly, in two cases and possibly more, results showed that participants might have benefited from more situated and responsive scaffolding by the instructor. My study also supported previous researchers’ findings that a balance between freedoms and constraints is essential to a novice composer’s success. Participants expressed general skepticism of themselves as bona fide composers, a desire or need for more time to develop their compositions, and value of agency, originality, and prior experience. Participants conveyed that individual and collaborative composition processes each had advantages and disadvantages; however, overall, they preferred collaboration over individual work. Participants attempted to reconcile their knowledge of traditional notation with graphic notation and drew from prior instrumental experience, familiar music, and their previous compositions to develop their pieces. I also discussed the extent to which and how particular Papertian, Piagetian, and Vygotskian theoretical constructs revealed themselves in my study.

The purpose of this study is to investigate how to choose, adapt, and arrange music for school full orchestras with incomplete instrumentation that are not yet ready to perform unarranged standard literature. The literature suggests that while school full orchestra directors may be able to find some published arrangements that include generous cues for missing instruments and parts for substitute instruments, the most effective approach is to alter and arrange music as-needed. When arranging, it is important for teachers to make choices that allow for their students to be successful, but also preserve the original octaves, timbres, form, and tempo of the piece, as intended by the composer. Arranging options that accommodate incomplete instrumentation are demonstrated in an arrangement by the author for school full orchestra of Franz Joseph Haydn’s Symphony No. 82, Movement I. Further examinations of arranging techniques and abridgement considerations are provided in an additional arrangement by the author of Ludwig van Beethoven’s Symphony No. 6, Movement I, for school string orchestra. Two different published arrangements of “Dance Bacchanale,” from the opera Samson and Dalila by Camille Saint-Saëns, are compared to each other and to the original, to observe how existing arrangements anticipate and accommodate incomplete instrumentation in school full orchestras. A brief history of the full orchestra ensemble in American schools is also included.

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