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This study investigated the hypothesis that cattle fed to produce a lean carcass during a winter restriction period will subsequently grow faster and remain leaner than fatter steers during the summer, exploiting cheap grazed grass. Three studies were carried out; in the first study steers were restricted at three levels of growth (300, 600 and 900 g/day) during winter and turned out to graze grass during summer. At each level of growth during winter steers were fed on one of two diets aimed at producing steers of either a lean or fat carcass composition. At the end of the winter restriction period differences in lean composition were observed at the 300 and 600 g/day growth rates. Steers were slaughtered when they attained the target slaughter weight at the end of summer; but there was no difference between treatments in meat quality characteristics or fat composition. Liveweight gain during the summer period was inversely correlated to winter liveweight gain. Two further studies were carried out to assess the effect of altering carcass composition during winter, fed to a predicted growth rate of 600g/day to investigate the underlying physiological and endocrinological mechanism regulating the growth characteristics. In the first study at the end of winter steers that were fatter had higher glucose and insulin concentrations. No differences between diet treatments were detected in muscle protein synthesis or breakdown. At the end of the winter in the second experiment there were no differences in carcass composition, metabolite or hormone profiles between treatments. For both studies, at the end of summer, steers on different dietary treatments had similar carcass compositions and metabolic parameters. It was concluded that by altering the diet of steers during a winter restriction period the composition of carcass gain can be manipulated. Since steers altered the deposition of carcass protein and fat during the subsequent summer period at grass resulting in similar body compositions at slaughter it was deduced the that composition of steers at the end of winter remains unimportant. Reductions in beef production costs may be attained by restricting the growth rates during winter when commercial feeds are expensive.

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<p> For over two decades, scholars in rhetoric and composition studies have been invested in helping to shape and adapt writing studies as institutions of higher learning negotiate conceptualizations of subjects and knowledge production in digital culture. The canon of invention, in particular, has propelled forth theories and practices that resist hermeneutic modes of knowledge production and instead advocate invention as performance. Inspired by the aforementioned scholarship, Victor Vitanza's call for knowledge production that relies on the language games of paralogy, Gregory Ulmer's heuretics, and Sarah Arroyo and Geoffrey Carter's participatory pedagogy, this thesis puts forth a method of invention entitled "producing as a listener." This methodology harnesses the potential of video editing software and video sharing ecologies as choric sites of invention, relies on the reconceptualization of subjects as whatever singularities, and invites electrate and proairetic lines of reasoning wherein video composers invent and write as listeners. </p>

The Creative Project entailed a twofold apologue: a graduate recital and an accompanying paper. The recital, performed on April 3, 1974, included compositions representing the Classic Period, the Romantic, and the Contemporary or so-called New Music. The program consisted of W. A. Mozart's Trio No. IV, Opus Kv. 498, for Viola, Clarinet and Piano, John Ireland's Fantasy-Sonata for Clarinet and Piano, and Aaron Copeland's Concerto for Clarinet. Additionally, an original composition employing the use of three clarinets, Eb Soprano, Bass and Bb Soprano and accompanied by quadraphonic tape was given its premier on this recital. The accompanying paper dwells entirely upon this composition.Three Movements for Three Clarinets and Quadraphonic Tape was the first composition of its genre to be realized at the University. Topics that have been discussed in the paper include tape techniques employed in the composition, a description of the ARP 2500 Synthesizer Modules and the patches that were used to synthesize the various electronic sonorities incorporated in the recording of the quadraphonic tape. / School of Music

<p> In deliberative argument, in political discourse, in teaching, and in casual conversation, as rhetors we often hope that our attempts at interaction will have some effect on the participants in these discursive environments. The phenomena of stubbornness, however, would seem to suggest that, despite our efforts, there are times when rhetoric just doesn't work. This dissertation complicates this premise, and in so doing complicates common understandings of both stubbornness and rhetorical effect. As I argue, rhetorical effects exist within a complex rhetoric <i>system</i>, within which they circulate and are interconnected with a diversity of other rhetorical and non-rhetorical elements. Using N. Katherine Hayles's concept of "making the cut," I argue that within such complex systems, stability and change are tangled up in an interdependent relationship; in short, in order for complexity to exist it must be constrained by contingent stabilities. These necessary stabilities mask the way that systems are always moving, and so we often do not see changes in the rhetoric systems we inhabit. In this sense, these changes are <i> compensatory</i>, and they work to maintain a stability that can manifest precisely as stubbornness. In delineating what I call a "rhetoric-systems" approach, this dissertation maps the stabilities and movements of several different rhetoric systems, and provides new insight into the complex and relational movement of rhetorical effect. Our use of this approach asks us to recognize the existence and value of certainty and stability, and <i> then</i> to pull back and recognize the existence of complexity and change. The approach integrates insights from systems theory (and so from the sciences) into existing rhetorical theory, and in so doing models an interdisciplinary approach to public rhetorics and writing studies that is firmly grounded in rhetorical theory.</p>

The BOD POD (BP) is a device used for determining body composition that is based on the air displacement plethysmography method. There has been little research conducted on the BP, and the main focus of the research has been on the reliability and validity of the BP. Another important area of research with the BP is the effect that different types of clothing have on the percent fat readings from the BP. To produce the most accurate results, the manufacturers recommend that subjects wear a Lycra swimsuit, however this recommendation may not be feasible for some individuals or testing sites to follow. The purpose of this study was to determine if a standard type of clothing would affect the percent fat readings from the BP in a consistent manner. Fifty subjects (25 men, 25 women) of varying ages (19 to 84 years of age) and body composition (3.4 to 53.2% fat) completed six trials (3 cotton and 3 nylon) in the BP during one testing session. With the exception of the clothing, all other recommendations by the manufacturer were followed. The comparison between the two clothing conditions was analyzed with a 2-way ANOVA (gender x clothing), frequency distribution, and the Bland-Altman method. The reliability of the measurements was analyzed by comparing the absolute differences between the three trials with cotton clothing and the three trials with nylon clothing, with intra-class correlation coefficients, and the Bland-Altman method. The results from the 2-way ANOVA revealed that the interaction effect of gender and amount of clothing was significant with the difference between nylon versus cotton being 1.1% for men and 4.8% for women. There was also a significant difference between body fat measurements with the cotton clothing (24.2 + 11.2%) and the nylon clothing (27.1 + 11.6%) when analyzed with all the subjects combined (men and women). Reliability analysis resulted in intra-class correlation coefficients of 0.9 and 0.95 within the cotton and nylon clothing trials, respectively. The comparison of the absolute differences between the cotton trials and the nylon trials showed a between-trial standard deviation of approximately 0.6 for cotton and 0.7 for nylon. In the comparison of nylon to cotton clothing results, there was a greater difference between the results for the women than for the men. The men had a lower, similar difference when comparing the two clothing conditions, whereas the women had a higher, difference that was not similar between subjects. In conclusion, this study showed that using either cotton or nylon shorts for men is acceptable, whereas for women more testing is needed to find another type of clothing to replace the Lycra swimsuit that results in consistent percent fat measurements. Also, the reliability of the percent fat readings obtained with both clothing conditions was very good. / School of Physical Education

Software development for both compositional systems and computer graphics has been extensive in the computer music field. Compositional systems employ different techniques in supporting the global strategies of composers, and they require alphanumeric input. Programs in computer graphics have been concerned primarily with the representation of common music notation. A System for Interactive Music Composition Through Computer Graphics was developed to provide a composer with an interactive, compositional, graphics environment.Musical constructs are not depicted in the system through common music notation, but through line-segment graphs. Since music is a temporal art, any musical parameter can be represented as a function of time. The process of visually/aurally perceiving structure is enhanced by using graphs instead of strings or tables of numbers as traditionally used in computer music. There are also no notational restrictions on frequency and rhythm like those encountered with common music notation. The system provides a way for the composer to organize the large amount of data needed in computer music composition.There are visual transformations in computer graphics which correlate to aural transformations in music. Algorithms for translation, scaling, and rotation support the musical transformations of transposition, augmentation, diminution, inversion, retrograde, and retrograde-inversion. The windowing algorithm is used throughout the system for inserting and extracting structures. This algorithm is also used in editing a portion of a structure in which that section is displayed on the graph for a finer level of detail. Structures can be created through entering points interactively, generating transformations of an existing structure, realizing a statistical distribution, or extracting a section from an existing structure. Editing possibilities include inserting or deleting points, lines, and curves, inserting one structure within another, or generating transformations of one structure within each line segment of another. These options help make the system both efficient and flexible.When the composer becomes familiar with the system, a large amount of data can be generated in a short time. It is a very powerful tool for organizing and manipulating musical constructs. The system can be used with relative ease by beginning as well as advanced composers.

Ee is a single movement composition for eight sopranos (who also play handbells), a percussion ensemble consisting of eight players, and piano. The work is organized into two sections, the first of which presents the basic material and explores the possibilities it suggests. The second represents a disintegration of the material, eventual synthesis, and assertion of the original material. The piece is conceived as a minimalist composition in which the musical energy and momentum is created not through development, but rather through devices of additive layering of ostinato patterns. The piece intentionally juxtaposes a conservative harmonic vocabulary with a non-traditional orchestration (voices, handbells, and percussion). / School of Music