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The purpose of this study is to bring together the information necessary to assess the Mixtec goldsmithing techniques and the designation of these techniques as a culmination of New World metallurgy. Historical and technological backgrounds are examined in depth.

The work presented here included the development of a highly sensitive method to estimate the size and complexity of poly(ADP-ribose). This involved radiolabeling of the precursor pools, purification of polymers using a boronate resin, polymer fractionation according to size by molecular sieve chromatography and analysis of polymer complexity by enzymatic digestion to nucleotides which were quantified by strong anion exchange chromatography.

Immobilized boronates were evaluated for studies of adenine nucleotide metabolism. These studies were performed using Affi-gel 601, a commercial boronate gel, and dihydroxyboryl Sepharose and dihydroxyboryl-Bio Rex which were synthesized in the laboratory. The studies performed included the determination of the relative binding affinity of a variety of adenine containing compounds for the three immobilized boronates under differing chromatographic conditions.

Separation of the pigment-lipid esters of Xanthomonas juglandis (campestris) in a silica gel G:celite 545 column yielded 4 bands. Two of these bands, ester #1 and #2, make up over 95% of the mixture. Analysis of the four pigments indicate that three are phospholipids and that the phosphate accounts for about 3-4% of the weight of each of the two major esters.

The spatial perceptions (i.e., ability to find hidden objects) of infants were tested and compared to their self-mobility and gender. Sixteen infants, eight males and eight females, were tested four times over a nine-week period. The testing was begun with each infant two to three weeks after the infant had begun to crawl.

The purpose of the study was to examine the relationship between the professional activities of Col. Earl D. Irons and the overall development of bands in the Southwest. The need for the study was determined after researching the related literature, which revealed gaps in the historical record of instrumental music education, and in particular a dearth of biographical studies dealing with music educators in band field.

The purpose of this study was to examine the ventral prostate from Sprague-Dawley rats of the ages two, twelve, and twenty-four months to determine the extent of histological and fine structural change. The tissue was processed for routine light and electron microscopy.

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During the Baroque Era (1600-1750) many motets were written for one solo voice, representing a major departure from the polyphonic motet settings which had been produced since before 1250. The study traces the development of the solo motet from it s first appearance in the Centro concerti ecclesiastici of Lodovico Grossi do Viadana in 1602 up to 1750, when the style began to deteriorate along with the Neapolitan opera style.

This thesis is a musical setting of the Ordinary of the Roman Catholic Mass: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. It is scored for a soprano soloist, a four-part chorus (SATB), percussion requiring one player (orchestral bells, vibraphone, and chimes), piano, and pipe organ. The text is taken from the traditional Latin and its English translation, the Greek (in the case of "Kyrie eleison") and verse taken from scripture--John 1:1, John 1:5, and Revelation 1:17-18--as translated in the Revised Standard Version Bible. These verses are woven into the musical fabric of the Kyrie and the Gloria and are frequently overlayed with the text of the Mass itself. The text is treated freely with some cyclic treatment of textual and thematic material.

The Contest is a ballet scored for orchestra and tape. It was composed in the tradition of dramatic orchestral ballets and sets the biblical story from 1 Kings, chapter 18, verses 20-40. Certain portions of the work were written using computer assisted compositional programs developed by the composer. These programs were written in the BASIC programming language. Other sections of the score were composed intuitively, using no computer programs. The tape for the last movement was prepared on the Synclavier II digital syntesizer using the Script system and the Synclavier II keyboard instrument.

The problem of this study was to conduct a systematic application and evaluation of the appropriateness of a computerized voice control system with a subject having the severe multihandicaps of profound mental retardation, quadriplegia, and limited communication skills. This research was an effort to establish if a computer could compensate for some of the physical limitations of the subject.

Variations Concerto is a work for large orchestra and solo trumpet of approximately sixteen minutes duration. The work is scored for piccolo, flute, two oboes (one doubling English horn), two clarinets in B-flat, bass clarinet in B-flat, two bassoons, four horns in F, three trumpets in B-flat, two trombones, bass trombone, tuba, timpani, percussion, piano, the solo trumpet in C, and strings. The large percussion battery includes glockenspiel, xylophone, chimes, vibraphone, four graduated wood blocks, four graduated triangles, temple blocks, four high toms, finger cymbals, four wood drums, four automobile brake drums, five medium toms, four low toms, four graduated suspended cymbals, snare drum, and four graduated metal pipes.

Kami is a two-movement composition for chamber orchestra. It is scored for two flutes; two Bb clarinets; bassoon; two F horns; Bb trumpet; bass trombone; a percussion section consisting of two performers alternating on triangle, suspended cymbal, three toms (low, medium, high), two timpani, and xylophone; piano; harp; and strings. The movements are approximately five and six minutes in duration, respectively, with a total duration of approximately eleven minutes. The title, Kami, is taken from the Japanese word for "god," and is meant to convey a sense of otherworldliness. This piece is intended as a fantasy for chamber orchestra, merging eastern and western musical influences.

The attachment and/or penetration of animal cells by two strains of Legionella pneumophila was studied in three vertebrae cell lines in vitro . The study focused on (1) differences in attachment and penetration between the two bacterial strains (an environmental isolate, Johannesburg-2, and a clinical isolate, Chicago-8) and between the cell lines (Hep-2, WI-38 and a murine line); (2) effects of L. pneumophila on cell morphology and growth; and (3) the effects of pyruvate and six sugars or sugar derivatives (D-mannose, D-Galactose, D-Glucose, L-glucose, D-fructose, and 2-deoxy-D-glucose).

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Finger Spirits is a concerto for piano and orchestra. The traditional concerto form of three, large, separate movements is not present here. It is a one-movement work in three continuous sections. Certain premises of the concerto are retained: (1) the interplay of soloists and orchestra; (2) the display of vistuosity; and (3) the use of fixed thematic elements. Throughout the performance, the pianist alternates playing actual notes with gestures used in manual communication and mimetic elaborations created by the composer. The gestures delineate shapes of particular objects and depict emotions that are present in the work as it unfolds. Finger Spirits explores the act of performance and alters the traditional concert ritual of audience-performer opposition. In addition, it incorporates gestures as an extension of the role of the pianist and thus represents a form of music theater.

This paper discusses historically and musically significant insights into how the Mozart clarinet Concerto, K. 622, should be performed. The clarinet Concerto was the last wind concerto composed by Mazart and was completed around November 15, 1791, less than a month before his death. Mozart's original manuscript was probably lost. The only extant autograph of the Concerto is a fragmentary one of an earlier sketch dating from 1789.

Cell cultures were examined for percentage of fragile sites seen in straight-stained, Q-stained and reverse fluorescent-stained preparations. In all cases, percentage of fragile site expression was decreased when compared to straight-stained preparations. However, fragile sites seen in Q- and RF-stain could be identified as on X chromosomes.

Although the present revival of interest in the lute and its music began in the late nineteenth century, it was not until the early 1970s that the historical method of lute playing in the Renaissance are paintings, woodcuts, old lutes, and lute books.

This study is about the development of a curriculum guide which projects flexibility, continuity, sequential framework, and to a certain extent, uniformity, around which each teacher may build an art program that will best meet the students' needs. Areas pertinent to developing the curriculum guide are presented in light of literature in this field. The guide may be used to facilitate the teaching of art in recognizing and understanding artistic development that is essential in bringing to fruition the inherent individual ability of all the Junior High Catholic School students.

The objective of the completed research was to characterize the morphology of individual neurons within monolayer networks of fetal mouse spinal tissue via intraperikaryal injections of horseradish peroxidase (HRP). Thirty labelled neurons were reconstructed via camera lucida drawings and morphometrically analyzed.

The lecture recital, given on April 18, 1983, began with biographical background that suggests the influences on the compositional development of both the composer, Charles Widor, and the poet, Paul Bourget, of the Chanons de mer. Songs were chosen to examine the characteristics that not only enhance Widor's poetic rendering, but impart to the Chansons de mer the more intellectual appeal often desired in today's concert repertoire.