ABSTRACT Marimba Rossa is a three-movement concert piece for marimba and symphony orchestra. The 14-minute piece is written in the spirit of the Italian Baroque concertos of Antonio Vivaldi (the "Red Priest" for whom the piece is named), using a harmonic and rhythm language that is heavily influenced by the concert and pop music of the late twentieth-century. Marimba Rossa was composed with the concept of Ars Combinatoria in mind. First espoused by George Rochberg in 1973, Ars Combinatoria is concert music that uses musical gestures drawn from any musical tradition. The accompanying monograph provides a detailed history of the modern concert marimba and an account of the evolution of its concert and popular music repertoire. Specific information about the marimba's origins in Asia, its place in the Bible, the development of the European strohfiedel xylophone, the refinement of the instrument in America, and a discussion of the Guatemalan, Mexican, and Japanese / Music Composition / Accompanied by two .pdf scores: 1) Marimba Rossa: for marimba and orchestra. 2) Marimba Rossa I.

Energy cost of walking at any given speed is higher for heavier people than for lighter ones. We compared adolescents that were matched for total body mass but had different body composition. Nine pairs of boys (16.37 ± 1.57 years in the lean group and 12.90 ± 1.49 years in the obese group) participated. Metabolic energy expenditure (EE) was compared at three walking speeds and moments and powers at the hip and ankle at push off were analyzed. Assessment of fat mass and distribution was performed using whole body dualenergy x-ray absorptiometry. A repeated measure ANOVA was performed when matched pairs were compared. Based on multiple regression, pooling all subjects together, body mass was the main predictor of EE. Variance explained by adiposity increased with increasing speed. Obese subjects tended to expend more energy than their lean pairs at the two fastest walking speeds (5 and 6kph). There was a significant difference between the pairs in EE (kJ/min) at 6kph (p<0.05). Ventilation showed the same pattern as V02net (exercise V02 minus resting V02), increasing with increasing speed and showing differences between the pairs at the fastest speed. Heart rate was consistently higher in the obese subjects. Stride length, stride rate, progression velocity and moments and powers at the hip and ankle at push off were not correlated with body fat. No relationship between V02net. total amount of body fat, or segment fat content was found. Total amount of fat in the body and the amount of fat in the legs had no influence on gait parameters. In conclusion, excess body fat does not influence the energy cost of walking at low speeds but does so at 6kph. Obese subjects demonstrated higher effort at all speeds. Amount of fat distributed in body segments does not influence either energy cost of walking or mechanical gait parameters. / Thesis / Master of Science (MSc)

In wheat grains, mineral nutrients are stored in spherical particles called globoids. Globoids are located within the protein bodies of cells from the aleurone layer, scutellum and embryonic axis of the wheat grain. Composed of phytate, globoids contain an essential source of myo-inositol, P, K, Mg, Ca, Mn, Fe and Zn which are used by the growing seedling during early seedling growth. Changes to the element composition within the globoids from the aleurone, scutellum and embryo axis, during seed set and early seedling growth were examined in two cultivars of wheat through the use of energy dispersive X-ray analysis. During seed set and early seedling growth the composition of the globoids within all tissues changed. In each of the tissues in both cultivars the P levels decreased during seed set and remained relatively constant during early seedling growth. K levels increased during seed set and decreased during early seedling growth. Mg and Ca levels generally decreased during seed set and increased during early seedling growth. Mn and Zn were detected only within globoids within the embryonic axis and no changes were noted for these two elements. Energy dispersive X-ray analysis showed that A.C. Reed and Celtic grains both followed the same general trends during seed set and seedling growth indicating that the differing protein content of the two cultivars had little effect on the timing of mineral nutrient accumulation and utilization within the globoids. Atomic absorption analysis of whole grain tissue for P, K, Mg and Ca revealed that Celtic grains had higher concentrations of P and K while being grown in identical conditions to that of A.C. Reed grains. These results indicate that mineral nutrient levels within the grain seem to be influenced by the cultivar, and possibly the protein content of the particular cultivar. / Thesis / Master of Science (MS)

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This dissertation is a history of the representations of linguistically diverse international students within composition studies. The project highlights some of the many terms that have been used to represent linguistically diverse writers, such as ESL, EFL, multilingual, and nonnative, tracing the path to the concept of translingualism currently used by composition scholars. This research responds to Paul Matsuda's argument in "Composition Studies and ESL Writing: A Disciplinary Division of Labor" that "[u]ntil fairly recently, discussions of English as a Second Language (ESL) issues in composition studies have been few and far between" (699). This dissertation contends that Matsuda overstates his claim when he argues that composition, as a field, has not been overly concerned with the topic of second language speakers. Indeed, this topic has been emphasized throughout the field's scholarship and has even contributed to the formation of the field itself. Specifically, the dissertation analyzes the journals College English between 1939-1950 and College Composition and Communication between 1950-2013 to examine the conversations about multilingual writers and students in the field of composition. Through an analysis of these journals, it becomes apparent that discussions about international students in U.S. classrooms today have strong antecedents in the conversations of our past. And these conversations about international, linguistically diverse writers have been a continuous force in the creation and evolution of mainstream thinking in the field. By tracing these evolving conversations, the project demonstrates how the field of composition has reached the translingual moment currently researched by composition scholars. The dissertation concludes that translingualism, as a developing theory, still calls for more research that emphasizes pedagogical techniques that use a translingual approach to language. / Ph. D.

Feminist rhetorics need to move us from inclusion to transformation: instead of "including" more and more marginalized groups into the scholarly status quo, or "including" comics into methods of analysis that we already use, we need to transform our practices themselves. Seeing comics research as an expedition into comics doesn't work. The spatial metaphor is failing because it's analogous to a takeover in the colonial sense. I center the both/and experience of being a producer of comics and analyst of them. Drawing from a critical reading of my own comic, I describe "the disobedient how," a way of learning from transgressive models. I argue that instead of "collecting" comics, decolonial feminist methodology asks that we "attend" comics through listening, experiencing, and having a relationship with them and their creators. As Shawn Wilson's work suggests, knowledge lies in relationships. I use this concept to guide an analysis of Lynda Barry's recent comics work as well as her comments during a panel at the Comics: Philosophy and Practice conference. In order for academics to have true knowledge about Barry's work, we must have a right relationship to her and to it, which requires decolonizing our relationship to texts and taking Barry's comics seriously as sources of theory. Next, I argue for scholars to pay closer attention to Alison Bechdel's comics beyond their engagement with her memoir, Fun Home. I describe her participation in queer rhetoric through a close reading of her comic strip Dykes To Watch Out For and her public discussion of her composing practices. Finally, I perform a retrospective of the history of my own comic book, Oh Shit, I'm in Grad School, drawing on (and developing documentation for) personal archives. / Ph. D.

Three Movements for Orchestra is an electric work which utilizes many compositional devices such as isorhythm, serialism, cantus firmus, Klangfarbenmelodie, thematic transformation and development, mixed meters, and counterpoint. The contrapuntal emphasis can be easily seen in the first and third movements' resemblance to the passacaglia and fugue, respectively. The second movement combines elements of the outer movements and functions as a rather large interlude or transition between them. The total duration is approximately fifteen minutes.

A Psalm Fantasy is a cantata in three movements for mezzo-soprano or baritone soloist, chorus of mixed voices and orchestra. The orchestra comprises two flutes, oboe, English horn, two clarinets in B-flat, bass clarinet, two bassoons, four horns in F, three trumpets in B-flat, three trombones, tuba, timpani, cymbals, xylophone, harp and strings.

Gilgamesh is a dramatic solo for contralto. An unusual feature of this project is the composition of two separate and distinct versions of the instrumental accompaniment. One version is for a large concert band with an expanded percussion section and is almost fourteen minutes in length. The other version is for a small ensemble consisting of piano, percussion (xylophone, 4 tom-toms and miscellaneous instruments) and prepared tape. It is eleven minutes in length.

The Canticles of Solomon , a musical drama written for tenor, mezzo soprano, chamber orchestra, and full chorus, is a three movement piece, 25 minutes in length. It is intended for performance without scenery, costume, or action. The fundamental element is text. The source text is The Song of Solomon from the Ryrie Study Bible. The text is cross referenced and used in the formal structure of the work. Each time a cross-referenced entry of text is reached, the melodic theme or rhythmic motive is found according to the appropriate theme category in which the specific text is placed. There are twelve theme categories. The melodic themes have differing levels of tonality. The formal structure is cyclically through-composed.