Factual evidence concerning the ancestry of the clarinet has been a perpetual topic of debate among musicologists and organologists. Scholars have widely agreed that the clarinet, first documented in 1710, emerged from the baroque invention of the chalumeau (invented circa 1690), which in itself was an improvement upon the recorder. Considering the chalumeau's short lifespan as the predominant single reed instrument in the early eighteenth century, the chalumeau inspired a monumental amount of literature that includes vocal and instrumental genres written by distinguished composers. Vivaldi is considered to be the most significant composer that wrote for both clarinet and chalumeau; he wrote for both instruments simultaneously throughout his life whereas his contemporaries seemingly replaced the chalumeau with the clarinet. This project will discuss Vivaldi's proximity to the chalumeau and the clarinet and will provide an in-depth analysis of relevant works by the composer to determine how he, unlike his contemporaries, treated the chalumeau and the clarinet as separate and equally viable instruments. Following a brief history of the chalumeau and clarinet in Italy and a relevant biography of Vivaldi (Ch. 2), this document will discuss the integral Vivaldi compositions that include clarinet and chalumeau and the role of the clarinet …

The National Museum of the Pacific War presents an interview with Adolph Krchnak. Krchnak joined the Army in December of 1944. He completed parachute school. In late 1944, early 1945 he was stationed in the Philippines with the 11th Airborne Division. They served in a traditional infantry role in the Philippines. His division participated in the Liberation of Manila in the spring of 1945. In August of 1945 they traveled into southern Japan as part of the occupation force. He was honorably discharged in 1946.

The National Museum of the Pacific War presents an interview with Adolph Krchnak. Krchnak joined the Army in December of 1944. He completed parachute school. In late 1944, early 1945 he was stationed in the Philippines with the 11th Airborne Division. They served in a traditional infantry role in the Philippines. His division participated in the Liberation of Manila in the spring of 1945. In August of 1945 they traveled into southern Japan as part of the occupation force. He was honorably discharged in 1946.

This report looks at how the European Union Emission Trading Scheme's coverage of carbon emission from commercial flights affects air carriers from the United States and other countries.

This report provides a background of the Organization for Economic Cooperation and Development (OECD), financial crisis and the issues for Congress.

This report examines the evolution of counterterrorism cooperation between the United States and the European Union (EU), particularly since the September 11, 2001 terrorist attacks. It includes a discussion of U.S.-EU cooperation progress and ongoing challenges, as well as perspectives and issues for Congress.

This report is designed to shed some light on the KOREU FTA for Congress.4 It briefly reviews EU-South Korean economic ties and the respective EU and South Korean objectives regarding the KOREU FTA. It then discusses the KOREU FTA in general and examines some of its major provisions in more detail, with special focus on autos and some other manufacturing sectors, agriculture, services, and labor-areas of particular interest to U.S. policymakers and the U.S. business community. The report does not attempt to determine if one FTA is better than the other. Finally, the report analyzes the prospects for the KOREU FTA and the agreement's potential implications for the United States.

The dwindling supply of castrati created a crisis in the opera world in the early 19th century. Castrati had dominated opera seria throughout the 18th century, but by the early 1800s their numbers were in decline. Impresarios and composers explored two voice types as substitutes for the castrato in male leading roles in serious operas: the contralto and the tenor. The study includes data from 242 serious operas that premiered in Italy between 1800 and 1840, noting the casting of the male leading role for each opera. At least 67 roles were created for contraltos as male heroes between 1800 and 1834. More roles were created for tenors in that period (at least 105), but until 1825 there is no clear preference for tenors over contraltos except in Naples. The Neapolitan preference for tenors is most likely due to the influence of Bourbon Kings who sought to bring Enlightenment values to Naples. After the last castrato retired in 1830 and the casting of contraltos as male heroic leads falls out of favor by the mid-1830s, the tenor, aided by a new chest-voice dominant style of singing, becomes the inheritor of the castrato's former role as leading man in serious Italian …

Although early Venetian operas by composers such as Claudio Monteverdi and Francesco Cavalli offer today's listeners profound moments of emotion, the complex codes of meaning connecting emotion (or affect) with music in this repertoire are different from those of later seventeenth-century operatic repertoire. The specific textual and musical markers that librettists and composers used to indicate individual emotions in these operas were historically and culturally contingent, and many scholars thus consider them to be inaccessible to listeners today. This dissertation demonstrates a new analytical framework that is designed to identify the specific combinations of elements that communicate each lifelike emotion in this repertoire. Re-establishing the codes that govern the relationship between text, musical sound, and affect in this repertoire illuminates the nuanced emotional language of operas by composers such as Claudio Monteverdi, Francesco Cavalli, Antonio Cesti, and Francesco Lucio. The new analytical framework that underlies this study derives from analysis of seventeenth-century Venetian explanations and depictions of emotional processes, which reveal a basis in their society's underlying Aristotelian philosophy. Chapters III and IV examine extant documents from opera librettists, composers, audience members, and their associates to reveal how they understood emotions to work in the mind and body. These authors, …