The purpose of this study is to become acquainted with the first movement of Mahler’s Fifth Symphony in the same manner as a conductor would when preparing the work for performance. Dr. William Dehning stated in his doctoral thesis: “The correct execution of any music imposes a great responsibility on the conductor of that music to determine what the composer might have intended.” The areas of concern to be discussed in this thesis, then, include analysis, thoughts on aesthetic and stylistic qualities, and some historical accounts relating directly to the Fifth Symphony.

Recently, investors have asserted that firms' loss contingency disclosures are not adequate to allow them to assess the likelihood of material losses due to litigation (i.e., litigation risk), and a debate has developed over whether the threshold for disclosure should be lowered to provide investors with more information relating to litigation. Using an experiment, I investigate two unintended consequences of lowering a disclosure threshold, as the FASB has recently proposed. First, I find that adding low probability lawsuits to the disclosure of reasonably possible lawsuits lowers prospective investors' perceptions of litigation risk relating to the disclosure, even though more lawsuits are disclosed. Second, lowering the threshold allows firms to portray the entire disclosure opportunistically, diverting attention from higher probability to lower probability lawsuits. I find evidence that firms can use such an opportunistic presentation under a lower threshold to their advantage. Specifically, prospective investors' and even short investors' perceptions were just as favorable to the firm as long investors' when the disclosure threshold was lower and firms adopted an opportunistic disclosure strategy. Thus, my findings suggest that the FASB's proposal to require disclosure of lower probability loss contingencies may have unintended consequences for investors' perceptions of firms' loss exposure.

Yellow Dye No. 5, also known as tartrazine (TRZ), is widely used[1] and has an accepted daily intake (ADI) of 0-7.5 mg/kg of body weight per day[2]. Consuming TRZ dosages greater than the ADI can lead to reduced levels of antioxidant enzymes in the brain, chromosomal alterations, or neuronal dendritic changes, [3, 4] which can result in oxidative stress, impaired neuronal functioning and potential mutagenic effects. Within the ADI, there have been observed reductions of the copper zinc superoxide dismutase-1 (SOD1) enzyme levels.[5]We hypothesize that TRZ interacts pre-translationally inside the cell, resulting in the reduction of SOD1 mRNA. In this study, differentiated Neuro2A-derived neurons were exposed to TRZ for 3 or 7 days. We tested a concentration curve from 0 to 11 μg/mL. Treated cells were grown on poly-L-lysine (PLL)- and laminin-coated glass coverslips, immunostained with anti-β-tubulin III and phalloidin, imaged, and analyzed using NeuronJ/ImageJ (NIH). Neurons were traced to analyze the morphological impacts of TRZ. SOD1 mRNA was quantified using reverse transcription quantitative polymerase chain reaction (RT-qPCR). We analyzed the differences in SOD1 mRNA levels of the controls vs. experimental cells, using the 2-ΔΔCT statistical method. We found that TRZ caused an increase in neurite length and a general decreasing trend of SOD1 mRNA expression. The reduction in SOD1 mRNA expression could indicate possible pre-translational modifications, which could be a result of TRZ’s ability to bind DNA. These findings help fill the gap in understanding the mechanism of SOD1 downregulation due to TRZ exposure.

L'aménagement du territoire qui permet de délimiter un territoire, tant spatialement, en fixant des frontières d'intervention, que par l'usage qui y est appliqué, est fondamentalement un objet géopolitique. Cette pratique est donc sujette à des conflits entre les différents acteurs qui la mettent en place ou, au contraire, la contestent. Ce problème est particulièrement prégnant dans le cas du Silo no 5, puisque cette ancienne infrastructure industrielle du vieux port de Montréal fait l'objet d'un débat quant à son réaménagement depuis plus de vingt ans. Il s'agit donc dans ce travail de recherche d'étudier l'aménagement sous l'angle de la géopolitique, c'est-à-dire de comprendre comment les conflits et les rapports de force ont influencé l'orientation et l'avancée des différents projets élaborés pour la mise en valeur du Silo no 5. La question principale de ce mémoire est fondée sur l'analyse, proposée par Philippe Subra, de cette activité conflictuelle. L'objectif de ce mémoire est de démontrer que le conflit entourant le Silo no 5 est un conflit d'aménagement convoité au sens où l'entend Philippe Subra. Une meilleure compréhension du phénomène de conflictualité, qui s'est développé de manière continue ces dernières années, devrait permettre une meilleure appréhension de la dynamique des projets d'aménagement et une efficacité plus grande lors de la mise en place et la gestion de ces derniers. En étudiant le cas du Silo no 5, nous sommes aboutis à différentes conclusions. D'une part, le conflit entourant le Silo no 5 relève successivement d'un conflit d'aménagement menacé puis d'un conflit d'aménagement convoité au regard des trois cas types proposés par Philippe Subra. D'autre part, la grille d'analyse proposée par ce dernier doit être considérablement simplifiée pour s'adapter au contexte montréalais. Ce sont essentiellement les enjeux du conflit qui permettent de le rattacher à un des trois cas types, bien plus que les mécanismes particuliers qui le constituent. ______________________________________________________________________________

This critical commentary investigates performance practice issues in Tomaso Giovanni Albinoni’s Concerto à cinque, op. 9 no. 5 (Amsterdam: Le Cène, 1722). It aims to stimulate players of the modern oboe to consider an historically informed approach towards the performance of this work through an assessment of relevant literature. Albinoni’s (1671–1750/51) professional career and the musical environment of Venice at this time form the backdrop for the study. The insularity of Albinoni’s life in Venice can be seen to have shaped certain original elements of his work. Furthermore, the increased availability of woodwind virtuosos in northern Italy during the early eighteenth century saw the composition of concertos for the oboe become an established part of Venetian musical life. This critical commentary includes a review of both historical treatises and modern literature that focus on the major performance practice parameters of tempo, dynamics, articulation and ornamentation. The historical treatises provide oboists with an understanding of the general practice during the baroque period, while the modern literature offers further discussion and analysis of these sources, alongside newer ideas for approaching the performance of Albinoni’s concerto. The resulting suggestions should not be regarded as rigid rules that contemporary performers must follow, but rather aim to give them more insight into the possible interpretation of the work. Thus the study provides both background information on the Concerto and guidelines on performance practice to assist oboists in generating their own ideas so that they can then develop their own interpretation of Albinoni’s concerto based on the evidence obtained from extensive research.

Performance practice is a term familiar to serious musicians. For the performer, this means assimilating and applying all the education and training that has been pursued in a course of study. Performance practice entails many aspects such as development of the craft of performing on the instrument, comprehensive knowledge of pertinent literature, score study and listening to recordings, study of instruments of the period, notation and articulation practices of the time, and issues of tempo and dynamics. The orchestral literature of Eastern Europe, especially Germany and Russia, from the mid-nineteenth century through the mid-twentieth century provides some of the most significant and musically challenging parts for the tuba. The works of Igor Stravinsky, Sergei Prokofiev, and Dmitri Shostakovich, along with their orchestral contemporaries, represents a significant portion of this literature. This study examines a seminal work in the orchestral genre from each of these three Russian composers. The role of the tuba in each work is discussed. Excerpts of the tuba part are examined in terms of performance issues such as range, rhythm, phrasing, and scoring. Comparisons and contrasts are drawn as to how each composer used the tuba and the effectiveness of the utilization.

Memoria (licenciado en ciencias jurídicas y sociales) / En nuestro ordenamiento jurídico la copropiedad o indivisión ha mantenido un perfil marginal y transitorio desde la configuración temprana de las leyes civiles. No obstante, existen ciertas especies de comunidad, denominadas comunidades activas, que escapan a esta concepción tradicional. Este trabajo, a través del estudio sistemático de las leyes y otras fuentes del derecho, analiza la posibilidad de una aplicación diferenciada de la garantía constitucional del derecho de propiedad en las comunidades agrícolas, una especie paradigmática de comunidad activa. Entendiendo que, en tanto especie de propiedad, contiene elementos esenciales distintos a los de la propiedad regulada en el Código Civil, se concluye que es necesaria una tutela constitucional diferenciada para las comunidades agrícolas, en particular, y para otras comunidades activas de nuestro ordenamiento, en general

This diploma thesis deals with the process of individual planning focusing on the care in the organization providing domiciliary services and care services. The theoretical section devoted attention to the development of social services in the Czech Republic. Furthermore, it specifies care services as well as personal assistance services. According to the Act 108/2006 Coll., on social services, providers of social services are obligated to draw up quality standards of social services and to respect them. In the theoretical section, there are briefly described all quality standards of social services. The thesis is focused mainly on quality standard No. 5 (The Individual Planning in Social Services). The public notice No. 505/2006 Coll. defines the criteria, which are obligatory to be respected by providers of social services. The aim of the thesis was to find out, how are the criteria of the quality standard No. 5 ensured by providers of personal assistance and care services. A partial aim of the work was to outline, to which users makes the individual planning the biggest difficulties. H1: Difficulty of meeting quality standard No. 5 declines with the increasing number of activities, required from the user of the social service. I?ve chosen a qualitative research to test the hypothesis and for achievement of the objectives. The relevant qualitative research relied on the questioning method. Questions in the first part of the questionnaire are directed to the main objective of the thesis, questions in the second part to the stopover and to the testing of the hypothesis. For the selected questions, I carried out a statistical analysis of dependence in the cross tabulations and an analysis based on the uncertainty coefficient by using the SPSS program. As part of my research, I approached provider of the care and personal assistance in the South Bohemian Region via e-mail. 167 completed questionnaires returned back. After summarizing of these results, we can conclude that the criteria of the quality standard No. 5 are reflected by the vast majority of providers. The providers have a written methodology for individual planning and they practice it. They plan together with the user, taking into account his personal target and they evaluate the plan collectively. They have a written system for the transmission of information about an individual users? planning and the staff follows it. Individual planning makes the greatest difficulties to the providers with users using only a small scale care. This fact is confirmed by the results of statistical analysis. Based on respondents' answers, the hypothesis that the difficulty of meeting the quality of standard No. 5 decreases with increasing number of required activities by the user of social services, can be consider as valid.

Many, if not most, student trombonists have perhaps had little or no previous experience with "extended techniques"-novel or unconventional modes of sound production. To address this deficiency of experience, this document sets forth a progressive sequence of descriptive explanations and supplementary studies, which are specifically designed to assist trombonists in mastering the particular extended techniques that will prepare them to perform three of the most popular late Twentieth-Century pieces for trombone that include extended techniques-Luciano Berio's Sequenza V, Folke Rabe's Basta, and Mark Phillips' T.Rex. Following the introductory chapter, the body of the document consists of three chapters, each of which deals with one of the three solos, presenting descriptive explanations of relevant extended techniques interspersed with performance commentary (solicited from prominent trombonists) and supplementary studies (composed by the author). The studies presented in each chapter are specifically geared toward mastering the extended techniques as they relate to the music of each particular solo. They are also especially focused toward learning the more difficult passages of music in each solo.

Orchestral excerpt books have become a staple in instrumental study for those pursuing a career in the orchestra. Many of these books, especially those for clarinet, are catered towards the popular and prolific clarinet solos found in principal clarinet parts. However, there is a lack of quality resources geared towards those pursuing second clarinet positions. Former materials might be outdated or are filled with inconsistencies or mistakes. The purpose of this document is to provide a resource and guide for select second clarinet orchestral excerpts. In this guide, certain aspects of playing second clarinet will be discussed as a whole and as it pertains to selected excerpts. The excerpts included in this document are: Bartók Concerto for Orchestra, Mendelssohn The Hebrides and Scherzo from A Midsummer Night's Dream, Ravel Daphis et Chloé and Rapsodie Espagnole, and Tchaikovsky Symphony No. 5.