Multi-species functional response models are required to model the predation of generalist preda- tors, which consume more than one prey species. In chapter 2, a new model for the multi-species functional response is presented. This model can describe generalist predators that exhibit func- tional responses of Holling type II to some of their prey and of type III to other prey. In chapter 3, I review some of the theoretical distinctions between Bayesian and frequentist statistics and show how Bayesian statistics are particularly well-suited for the fitting of functional response models because uncertainty can be represented comprehensively. In chapters 4 and 5, the multi- species functional response model is fitted to field data on two generalist predators: the hen harrier Circus cyaneus and the harp seal Phoca groenlandica. I am not aware of any previous Bayesian model of the multi-species functional response that has been fitted to field data. The hen harrier's functional response fitted in chapter 4 is strongly sigmoidal to the densities of red grouse Lagopus lagopus scoticus, but no type III shape was detected in the response to the two main prey species, field vole Microtus agrestis and meadow pipit Anthus pratensis. The impact of using Bayesian or frequentist models on the resulting functional response is discussed. In chapter 5, no functional response could be fitted to the data on harp seal predation. Possible reasons are discussed, including poor data quality or a lack of relevance of the available data for informing a behavioural functional response model. I conclude with a comparison of the role that functional responses play in behavioural, population and community ecology and emphasise the need for further research into unifying these different approaches to understanding predation with particular reference to predator movement. In an appendix, I evaluate the possibility of using a functional response for inferring the abun- dances of prey species from performance indicators of generalist predators feeding on these prey. I argue that this approach may be futile in general, because a generalist predator's energy intake does not depend on the density of any single of its prey, so that the possibly unknown densities of all prey need to be taken into account.

我在二零一一至二零一二年度期間創作的音樂作品涵蓋各種樂器配置與規模，意在以各種不同的載體去發揮音樂創意。本作品集精挑細選於上述期間創作的三首作品集成，包括一首室內樂團作品，一首管樂團作品，以及一首五重奏室內樂作品。每首作品以不同的音樂元素為焦點，諸如音高、音色、織體、節奏；這些焦點皆以引出創藝潛能為目標，增加在未來創作中所能靈活運用的音樂素材。每首作品的音樂元素焦點如下： / 《魘逐》為室內樂團作品，以節奏為焦點。錯落的節奏以及各種節奏上的音樂趣味，透過音高材料有限的運用及發展得以突出，是以本作在和聲和旅律方面的音高大部分是為由單一的音級集合所掌控。 / 《夜潮》為管樂團作品，主要探索木管、銅管與毃擊各種樂器協作間的漸變音色和織體。低音大鑼為本作的重要角色，奏出一輪混沌的泛音群，與管樂團內的各種樂器融為一體。音色組合的漸變為本作添加音樂上的趣味，而由升F多利安調式所限制的音高素材則能突顯音色與織體的發展。 / 《蜃景》是寫給五件樂器的室樂作品，特意探索弦樂器的微觀音色變化，包括小提琴、中提琴、低音大提琴，主要以漸變而誇張的運弓位置轉換達成。弦樂的一組與雙簧管、巴松管的一組時而相互配合，時而各自發揮，而雙簧組合的音色亦透過各種演奏技巧或音域加以變化。音高素材為簡約的兩個四音和弦，其相扣而成的音階在曲中慢慢成形。跟《夜潮》相比，《蜃景》的音色與織體變化在室內樂的設定中，更容易讓聽眾體驗到當中細緻精密的音樂設計。 / Aiming to channel musical creativity into an array of vehicles, my works composed in 20112012 involve instrumental forces of varying line-up and sizes. Three carefully selected works from the said compositional output are featured in this portfolio: one work for chamber orchestra, one work for symphonic band, and one chamber work for five instruments. Each of them focuses on a different parameter of music ranging from pitch, timbre, texture, to rhythm; by imposing such a focus, it fulfils my intention of stretching my creative potential in all these different parameters, in hopes of expanding the breadth of my musical vocabularies that I could employ with ease and flair in my future works. The parametrical foci are explained as follows. / The Nightmare Escape, a chamber orchestral work, is a composition that focuses on the rhythmic aspect. The irregularities and musical interests in rhythm are emphasized through the economic, if not limited, employment and development of pitch materials that are, for the majority of the piece, organized by pitch-class set harmonically and melodically. / Les Marèes de la nuit, a piece for symphonic band, explores the gradual change of instrumental colour and textures within the domain of winds, brass, and percussions. A key instrument featured in this piece is the tam-tam, which creates a cloud of overtones that seamlessly blend with any of the instrumental sounds from the orchestra. The gradual shifting of sound combination creates the musical interest in this piece. The confining of pitch materials within the F-sharp Dorian mode contributes to the central idea of timbral and textural development. / Fata Morgana, a chamber work for five instruments, experiments with microscopic timbral effects in the strings, namely violin, viola, and double bass, through the employment of gradual yet exaggerative shifting in bow position. At different intervals, this cohort works together or against the double-reed cohort of oboe and bassoon, whose timbral possibilities are also explored through different playing techniques and registers. The pitch material is further streamlined to two interlocking tetrachords that slowly unfold a synthetic scale. Compared to Les Marèes de la nuit, Fata Morgana features more minute timbral and textural changes within a chamber ensemble setting, making the refined and delicate design more readily audible to the audience. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Chan, Kai Young. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2012. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in Chinese; includes Chinese. / Abstract --- p.i / Acknowledgements --- p.iv / Table of Contents --- p.v / The Nightmare Escape (2011) 《魘逐》 --- p.1 / Les Marèes de la Nuit (2012) 《夜潮》 --- p.21 / Fata Morgana (2012) 《蜃景》 --- p.64

Η παρούσα εργασία αφορά στην ρύθμιση της έφρασης και έκκρισης της πλειοτροπίνης απο ανθρώπινα ενδοθηλιακά και κύτταρα γλοιοβλαστώματος. Γενικά, οι βιβλιογραφικές αναφορές σχετικά με τη ρύθμιση της μεταγραφής του γονιδίου της πλειοτροπίνης είναι πολύ λίγες, παρόλο που είναι ένα μόριο το οποίο φαίνεται να συμμετέχει στην αγγειογένεση και την ανάπτυξη πολλών τύπων όγκων. Μελετήθηκε η επίδραση παραγόντων που προάγουν της αγγειογένεση όπως, το μονοξείδιο του αζώτου, ο ορός και υποξία με σκοπό την διαλεύκανση του μονοπατιού ρύθμισης της ανάπτυξης των γλοιοβλαστωμάτων, το οποίο αν αξιοποιηθεί θεραπευτικά, ίσως να οδηγήσει σε καλύτερα θεραπευτικά αποτελέσματα. / In this study we examined the regulation of the expression and secretion of pleiotrophin from human endothelial and glioblastoma cells. Although pleiotrophin is a growth factor proved to promote angiogenesis and tumor growth, yet few things are known about its transcriptional regulation. In this work we studied the effect of factors that promote angiogenesis like nitric oxide, serum and hypoxia in order to elucidate the involved pathway.

Η HARP (Heparin Affin Regulatory Peptide) είναι ένας αυξητικός παράγοντας ο οποίος εμφανίζει πλειάδα βιολογικών δράσεων εμπλεκόμενος στη διαφοροποίηση, τον πολλαπλασιασμό και τη μετανάστευση πολλών τύπων κυττάρων, καθώς και στην αγγειογένεση και την ανάπτυξη όγκων. Η HARP έχει χρονοειδικό και ιστοειδικό πρότυπο έκφρασης, υπερεκφράζεται όμως σε καρκινικές κυτταρικές σειρές, σε ανθρώπινους καρκινικούς όγκους και βρίσκεται σε υψηλή συγκέντρωση στον ορό του αίματος ασθενών με διάφορες μορφές καρκίνου. Η HARP ασκεί τις βιολογικές της δράσεις μετά από δέσμευση στους διαμεμβρανικούς υποδοχείς, SDC3, ALK και RPTPβ/ζ. Οι βιολογικές της δράσεις προσδιορίζονται από τη συνισταμένη των δράσεων που έχει κάθε υποδοχέας της, αντικατοπτρίζοντας τον περίπλοκο μηχανισμό δράσης της. Στη συγκεκριμένη εργασία μελετήσαμε τον τρόπο με τον οποίο η SDC3 διαμεσολαβεί τις βιολογικές δράσεις της HARP σε κύτταρα DU145 και PC3, κυτταρικές σειρές από καρκίνο ανθρώπινου προστάτη. Χρησιμοποιώντας την RNAi τεχνολογία, διαμολύναμε παροδικά τα κύτταρα με siRNA ειδικά σχεδιασμένο έναντι της SDC3, μειώνοντας τα επίπεδα έκφρασης της. Καλλιεργήσαμε κύτταρα, φυσιολογικά και μετασχηματισμένα, επιδράσαμε εξωγενώς με HARP και τα αποτελέσματα έδειξαν ότι και στις δύο καρκινικές κυτταρικές σειρές, η SDC3 είναι θετικός ρυθμιστής της επαγόμενης από τη HARP κυτταρικής προσκόλλησης και μετανάστευσης. Παράλληλα, μελετήσαμε την ενεργοποίηση μορίων που εμπλέκονται στο μονοπάτι μεταγωγής σήματος της SDC3 όπως της Src, Fak, Akt, Pten και Erk1/2. Τα αποτελέσματα έδειξαν ότι η ενεργοποίησή της SDC3 από τη HARP οδηγεί στην αύξηση των επιπέδων των pSrc, pFak, pAkt και p Erk1/2, ενώ, βρέθηκε ότι μειώνεται η φωσφορυλίωση της Pten. Συμπερασματικά, στην παρούσα εργασία μελετήθηκε η συμμετοχή της συνδεκάνης 3 στις βιολογικές δράσεις της HARP, καθώς και μόρια του σηματοδοτικού μονοπατιού μεταγωγής σήματος του υποδοχέα αυτού. Βρέθηκε ότι η HARP προσδενόμενη στον υποδοχέα αυτό, επάγει την προσκόλληση και μετανάστευση των κυττάρων, δράσεις που συνδέονται με την ανάπτυξη όγκων και τη μετάσταση καρκινικών κυττάρων. / HARP (Heparin Affin Regulatory Peptide), also known as Pleiotrophin, is a growth factor involved in several biological actions such as induction of cellular proliferation, migration and angiogenesis. Elevated concentrations of this growth factor are found in many tumours, as well as in the plasma of patients with different types of cancer. HARP exerts its actions after binding to the transmembrane receptors RPTP β/ζ, ALK and N-Syndecan (SDC3). In the present work, we studied the role of the transmembrane receptor SDC3 in the biological actions of HARP. We used DU145 and PC3 transiently transfected with specific siRNA to downregulate the accumulation of SDC3. Our results show that HARP binds to SDC3 and induces the cell adhesion and migration of DU145 and PC3 cells. We also studied the signal transduction through SDC3 receptor and the activation of signaling molecules such as Src, Fak, Akt, Pten and Erk 1/2. Our results revealed that HARP induces the phosphorylation of Src kinase, Fak and Erk1/2 after binding to SDC3 in both DU145 and PC3 cells. Also, HARP increases Akt signaling cascade in PC3 cells, while it suppresses the signaling cascade induced by PTEN in DU145 cells. Consequently, HARP interaction with SDC3, results in the activation of SDC3, which in turn triggers a signal transduction pathway that leads to specific biological cell responses activates other cytoplasmic effectors. Therefore, there starts a signaling cascade that targets specific genes and cell response. In conclusion, our results indicate that SDC3 contributes, as a positive regulator, to HARP-dependent cell adhesion and migration in both DU145 and PC3 cells.

Η HARP είναι ένας αυξητικός παράγοντας με πλειοτροπική δράση που εμπλέκεται στην ανάπτυξη, τη διαφοροποίηση και τη μετανάστευση πολλών ειδών κυττάρων καθώς και στην αγγειογένεση και την καρκινογένεση. Η HARP ασκεί τις δράσεις της μέσω των διαμεμβρανικών της υποδοχέων RPTPβ/ζ, ALK και Ν-συνδεκάνη. Η δομή της HARP αποτελείται από δύο κεντρικές περιοχές ομόλογες με τις επαναλαμβανόμενες περιοχές τύπου I της θρομβοσπονδίνης (Thrombospondin type I Repeat, TSR) και το αμινοτελικό και καρβοξυτελικό της άκρο που έχουν τυχαία διαμόρφωση στο χώρο. Έχει βρεθεί ότι η HARP αποτελεί υπόστρωμα διάφορων πρωτεολυτικών ενζύμων και πεπτίδια της έχουν ανιχνευθεί στο υγρό θρεπτικό μέσο σε καλλιέργειες διαφόρων κυττάρων. Τα πεπτίδια της HARP μπορούν να έχουν διαφορετική ή και αντίθετη δράση από αυτή ολόκληρου του μορίου. Στo πλαίσιo της μελέτης των επιμέρους περιοχών της HARP που συμμετέχουν στις βιολογικές δράσεις της αλλά και της δράσης των πεπτιδίων που προκύπτουν από την πρωτεόλυσή της, σε αυτή την εργασία μελετήθηκε η δράση δύο ανασυνδυασμένων, τροποποιημένων μορφών της HARP που αντιστοιχούν στις κεντρικές TSR περιοχές, των H9-59 και H60-110, στον πολλαπλασιασμό και την προσκόλληση κυττάρων καρκίνου του προστάτη PC3 και στη φωσφορυλίωση των μορίων μεταγωγής σήματος ERK1/2. Τα αποτελέσματα μας έδειξαν ότι τα πολυπεπτίδια H9-59 και H60-110 καταστέλλουν τον πολλαπλασιασμό των κυττάρων PC3, ενώ επάγουν την προσκόλληση των ίδιων κυττάρων. Επιπλέον, τόσο το H9-59 όσο και το H60-110 επάγουν τη φωσφορυλίωση των ERK1/2. / HARP is a heparin-binding growth factor, which plays a key role in cell proliferation, differentiation and migration. HARP is also involved in angiogenesis and tumor growth and progression. HARP mediates its functions through its transmembrane receptors RPTPβ/ζ, ALK and N-syndecan. Structurally, HARP contains two TSR homologous domains and two basic clusters in its N and C-termini. It has been found that HARP is a substrate for several extracellular proteolytic enzymes and HARP peptides have been detected in conditioned media of cells. HARP peptides often have different or even opposite biological activity from the whole molecule. The aim of this project was to study the biological activity of two recombinant, truncated forms of HARP that correspond to the two TSR domains, H9-59 and H60-110, in order to contribute to the study of the HARP domains that mediate its biological activities and also the biological activity of HARP peptides. The results of the study show that both H9-59 and H60-110 inhibit the proliferation of PC3 cells but stimulate their adhesion. Moreover, both H9-59 and H60-110 stimulate the phosphorylation of ERK1/2.

This thesis deal with three individual Pagophilus groenlandicus canin teeth from the location Asva, Estonia dating from the Late Bronze Age (here 700-900 B.C). The aim of this thesis is to find out whether the three harp seal individual was local or non-local to Asva and further if they were migrants from the Atlantic Sea. The teeth enamel are analysed for strontium isotopes using LA-ICP-MS and the result was compared against the strontium 87Sr/86Sr values in various rivers in the Baltic Sea. This is to see how the harp seal has migrated around in the Baltic Sea. By placing the 87Sr/86Sr values against the rivers, it may seem that the three harp seals were non-local and not from the Atlantic Sea.

abstract: The inspiration to undertake this pilot study came after observation and reflection by the clinician-researcher, a board-certified music therapist who has used the harp as the primary instrument when facilitating sessions, on hundreds of music therapy sessions that took place at a facility for behavioral health and chemical dependency. It was observed that the use of improvised harp music as a therapeutic intervention within the context of a music therapy session seemed to relax patients who reported that they were nervous or anxious, and it was also noted that following a listening exercise that consisted of improvised harp music, patients appeared calmer and reported that they felt more comfortable. This research aims to determine if improvised harp music at the opening of a music therapy session creates a calmer environment in which to share information, compared with a guided verbal relaxation and ambient ocean drum sounds for the opening of the music therapy session. Social-behavioral research was conducted in the form of a fifty minute individual music therapy session with six subjects. Each therapy session used improvised music and verbal processing with the therapist, with three subjects in the experimental group and three in the control group. Each individual rated two different types of affective responses on scales of one to ten and completed a five-question survey at the end of the session. All the research subjects showed an increase in positive affect at the end of the music therapy session. / Dissertation/Thesis / Masters Thesis Music Therapy 2018

Submitted by Paola Baron (bpaola254@yahoo.com) on 2018-04-23T21:56:18Z No. of bitstreams: 1 tese Paola Baron.doc: 54991872 bytes, checksum: 80a567cf87560a77a2c83bf058d42048 (MD5) / Rejected by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br), reason: Solicitamos que realize uma nova submissão seguindo as orientações abaixo: - Submeter o arquivo da dissertação em formato .pdf - Padronizar título em todas as aparições (capa, folha de rosto, folha de aprovação e preenchimento de formulário na submissão). Algumas estão com aspas, outras não. Nossa orientação é que deixe sem aspas e coloque dois pontos entre título e subtítulo - Apresentar o item "resumo" em um parágrafo só. As mesmas regras servem para o item "abstract". Caso seja necessário, consulte o modelo em: http://www.ia.unesp.br/Home/Biblioteca/orientacoes-para-a-normalizacao-de-trabalhos-academicos_iaunesp_26_03.pdf Caso haja dúvidas, consulte a biblioteca. Agradecemos a compreensão. on 2018-04-24T18:35:30Z (GMT) / Submitted by Paola Baron (bpaola254@yahoo.com) on 2018-04-24T22:40:17Z No. of bitstreams: 1 tese Paola Baron.pdf: 9254388 bytes, checksum: a51aa8b2a8ced03416bb95c566dbe415 (MD5) / Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-04-25T20:08:47Z (GMT) No. of bitstreams: 1 baron_p_dr_ia.pdf: 9254388 bytes, checksum: a51aa8b2a8ced03416bb95c566dbe415 (MD5) / Made available in DSpace on 2018-04-25T20:08:47Z (GMT). No. of bitstreams: 1 baron_p_dr_ia.pdf: 9254388 bytes, checksum: a51aa8b2a8ced03416bb95c566dbe415 (MD5) Previous issue date: 2018-02-26 / Nesta tese são analisadas as técnicas compositivas utilizadas por Luciano Berio e Flo Menezes e são comparadas suas respectivas concepções musicais, tentando demonstrar um comum embasamento dessas ideias no pensamento estruturalista. Para tanto, a primeira parte deste trabalho é dedicada a analisar as diversas proposições teóricas do estruturalismo com os argumentos de Claude Lévi-Strauss, Umberto Eco e Vladimir Propp. Seguimos com algumas ponderações de Ferdinand de Saussure, Roman Jakobson e Roland Barthes sobre questões de linguística e, por fim, com conceitos da estética musical, presentes nas reflexões de Enrico Fubini, considerando também algumas das especulações elaboradas por Theodor Adorno, Robert Jauss, Edmund Husserl e Maurice Merleau-Ponty. Na segunda parte, as formulações apresentadas são declinadas no universo conceitual de Berio e Menezes, evidenciando as perspectivas teóricas individuais dos dois compositores. Em seguida, são analisadas exaustivamente as duas obras para harpa solo escritas pelos dois autores: Sequenza II, de Berio, e …donde solo las plantas suenan…, de Menezes, com especial atenção ao processo genético e compositivo. Nessa etapa de análise e confronto, procuramos validar a hipótese de que a reelaboração peculiar e a aplicação subjacente de princípios filosóficos e musicais de matriz estruturalista resultam na presença do Belo nas obras dos dois compositores. / This research analyses the compositional techniques used by Luciano Berio and Flo Menezes, and compares their musical conceptions trying to demonstrate a common origin of these ideas in Structuralism. In order to reach this aim, the first part of this essay is dedicated to analyse the different theoretical propositions of the Structuralism based on the arguments of Claude Lévi-Strauss, Umberto Eco and Vladimir Propp. We then proceed with some considerations about Linguistics issues by Ferdinand de Saussure, Roman Jakobson and Roland Barthes. Lastly, there is an elaboration of musical esthetics concepts, following Enrico Fubini’s perspective, and considering some of the contributions in this field by Theodor Adorno, Robert Jauss, Edmund Husserl and Maurice Merleau-Ponty. In the second part, these philosophical views are applied to Berio’s and Menezes’ conceptual universe, underlining the individual theoretical perspectives of the two composers. Then, we analyse the two compositions for harp solo written by the two authors: Sequenza II by Berio and …donde solo las plantas suenan…by Menezes, giving special attention to the genetic and compositional process. In this stage, we support the hypothesis that the implicit use of philosophical and musical structuralistic principles resulted in the presence of Beauty in the two composers’ pieces.

Le répertoire original pour harpe est relativement restreint. Deux voies permettent de concourir à son accroissement : la création contemporaine d’une part, et la transcription d’autre part. La présente étude interroge le rapport entre les habitus anciens et une pratique actuelle de transcription, depuis le répertoire de clavecin français du XVIIIe siècle vers la harpe. La transcription est ici considérée comme une pratique non notée qui relève de l’interprétation, et qui partage avec celle-ci, comme avec la traduction, des problématiques fondamentales en apparence antinomiques : esprit et lettre, idiomatisme et fidélité. Elle confronte l’interprète à ses propres limites ainsi qu’à celles de son instrument, et favorise la rencontre avec l’altérité d’une écriture dépourvue de gestes familiers. La transcription constitue l’un des moyens privilégiés de compréhension du répertoire transcrit, de l’instrument de destination, et du rapport de l’interprète à son instrument. La transcription du répertoire de clavecin français pour harpe sera envisagée tout d’abord sous un angle historique, puis à travers les interrogations de nature esthétique que suscite l’antagonisme entre idiomatisme et fidélité, enfin la question des limites et impossibilités sera interrogée selon une approche technique et pratique. / The original harp repertoire is rather limited. It seems there are two efficient ways to help its increase : contemporary creation on the one hand, and transcription on the other. This study questions the relation between early music and a current way of transcribing for harp the eighteenth century french harpischord repertoire. Transcription is here considered as an unwritten practice that comes close to interpretation, and like interpretation and translation, it faces fundamental issues which seem paradoxical : spirit and letter, idiomatism and fidelity. Transcription forces the performer to face his own limits as well as his intrument’s, and it favours the encounter with the otherness of a writing that is free of any familiar gesture. Transcription is one of the best ways to comprehend the transcribed repertoire, the instrument the piece is being transcribed for, and the relationship the performer has with his instrument. The transcription for harp of the eighteenth century french harpischord repertoire will be examined first under a historic angle, then, with esthetic concerns raised by the paradox between idiomatism and fidelity, and finally, the issue of the limits and impossibilities will be studied from a technical and practical approach.

A comparative analysis of the musical transcriptions of Dorothy Ashby with those of her predecessors proves that Ashby was a uniquely powerful and innovative influence on the genre of jazz harp. This dissertation begins with a summative biography of Ashby, following her education in both jazz and classical music through to her career highlights as a performer, arranger and composer. An analysis of Ashby's recordings reveals the development of her groundbreaking musical style throughout her life. This paper also examines Ashby's social activism through musical theatre, especially with regards to combating racism. Next, a brief biography of jazz harp forerunners Casper Reardon and Adele Girard precedes a comparative analysis of Reardon's "Aint' Misbehavin" with Ashby's "Soft Winds" and a comparative analysis of Girard's "Harp Boogie" with Ashby's "Blues for Mr. K." Finally, myriad examples of current musicians covering and sampling her work confirm the paramount and lasting influence of Dorothy Ashby's music.