Powdery mildew of wheat, Erysiphe graminis f. sp. tritici attacks wheat during periods of rapid growth, high levels of nitrogen fertilizer, high humidities, and cool temperatures. Yield losses due to mildew are caused by reduction in photosynthesis, increase in respiration and transpiration, impairment of heading and grain filling, and loss of plant vigor and growth.

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.

This research deals with the changes in cellular morphology of Azotobacter vinelandii cultured on nutrient agar. In particular, this study is concerned with the formation of intracellular particles and a description of their size and sequence of appearance. Changes in morphology of Azotobacter vinelandii grown on nutrient agar are contrasted photographically with morphology of Azotobacter vinelandii grown on Burk's nitrogen free medium.

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.

Born into one of the most distinguished families in eighteenth-century England, Samuel Wesley (1766-1837) distinguished himself as a child prodigy, an ardent devotee of the music of J. S. Bach, and as a composer, performer and music lecturer. His four extant overtures, written from the year 1778 to 1824, offer an insight into his development as a composer. This edition, drawn from the Wesley manuscripts housed in the British Library, is preceded by a commentary dealing with Wesley's life, the history of the overture as an independent for, and with Wesley's place in the history of English instrumental music.

This work was initiated to acquire a better understanding of the mechanisms, regulations, and significances of deamidation, as well as its role in the aging process.

The extent of muscular strength and muscular size in 20 female bodybuilders and 20 non-strength trained females was studied. Body composition and segment volumes and related anthropometric measurements data were obtained along with chest press and knee extension One Repetition Maximum (IRM) and 25 Repitition Maximum (25RM) values. No group differences were present in age, height, weight and segment volumes. The bodybuilders had a lower percent body fat, greater lean body weight (LBW) and larger muscles compared to the non-strength trained females.

Document accompanying a transcription for solo euphonium and large brass ensemble of three arias, "Ecco ridente in cielo," "Largo al factotum," and "A un dottor della mia sorte," from Gioacchino Rossini's opera The Barber of Seville. Includes overviews of the arias' texts and contexts, orchestrational techniques in the transcriptions, the history and definition of the term "euphonium," and the history of the large brass ensemble in the United States.

Three Units is a symphony in three movements: fast-slow-fast. The general shape or large form of each unit is noticeably different from its counterparts, although all three exhibit a common feature: an evolutionary process in which one or more musical genres form the basis for the entire movement.

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.

This quartet is comprised of two wind instruments, flute and clarinet, and two stringed instruments, violin and violoncello. This unusual combination affords a wide variety of colors in both melody and chord-voicing that are impossible with an "unmixed" quartet.

The structure of the present work is clearly described in the foregoing definition. Consisting of fourteen movements of varying length, it is primarily a vocal work for soprano, tenor, and baritone soloists, mixed chorus and an orchestra of moderate size.

A set of variations can be any length and contain any number of variations. The same set of variations also can be fashioned to resemble any musical form. On this basic premise, Theme and Variations for Wind Ensemble was written. It is a continuous one movement composition. There is a statement of a theme with five subsequent variations.

Missa Salve Regina, a five movement work, is approximately twenty minutes in duration. The work is a setting of the Ordinary of the Mass in Latin with additional text in the vernacular drawn from the writings of Miguel de Unamuno. The composition is scored for four speaking soloists (SATB), mixed chorus (SATB, percussion (player 1: tam tam, three suspended cymbal, bass drum, three tom-toms, glockenspiel, maracas, and marimba), and digital synthesizer optionally on tape. The Missa Salve Regina is concerned with the spiritual implications of the mass and its ritual. The music is composed for both concert presentation and use within the liturgy and deals with the conflict between faith and reason in the human mind, discussed at length, by Unamuno.

Devadasi is an abstraction of primitive dance rites for nine dancers and five percussionists. Though based on fertility rites and religious temple ceremonies, no actual representation of events is intended. It it approximately sixteen minutes and twenty seconds long, and is composed in six sections. Detailed choreography for the dancers is not included, but entrance and exit cues are shown, and the character of each dance is suggested by the music. Suggestion for lighting and costuming are also included in the score.

The composition consists of two movements: Adagio and Moderato. The first movement is mono-thematic, and is divided into three sections. The second movement offers contrast with the first by establishing an immediate tempo, dynamic, and color change.

Hegira is a work for full orchestra making use of piano as well as an augmented percussion section. The title, taken from Mohammed's flight to Mecca in 622 A.D., did suggest certain directions during the compositional process, but it does not imply a specific program for the music. The compositional process employed many techniques, including thematic transformation, serialization, rotation, contrapuntal textures, as well as the intuitive juxtaposition of material.

In Memoriam H. W. Reese is written for chamber orchestra and small mixed chorus, in honor of the composer's father, Hardy W. Reese (March 22, 1926-Nov. 23, 1982). The piece is written in one continuous movement with a total duration of approximately fifteen minutes. Within the work there are three distinct sections, each on texts dealing with a different stage in the process of reconciliation with death.

The composition was written as a laboratory experience in contemporary music especially for the Symphonic Wind Ensemble of the Skyline Career Development Center in Dallas, Texas. Based upon the Greek myth of Icarus, the movements are entitled, "Imprisoned", "Flight" , and "The Fall." The approximate performance time is 17 minutes, 45 seconds.

The composition is in one movement for cello and two-channel tape, requiring approximately twelve minutes for performance. The character of the work is aggressive and decisive in nature, with areas of repose occurring only at the beginning and before the conclusion. The title "concertante" is used to describe a concert-piece in which each of the two instruments.

The Variations on a Theme by Shostakovich is scored for an orchestra of 3 flutes, 3 oboes, 2 bassoons, contra-bassoon, 4 horns, 3 C trumpets, 3 trombones, harp, harpischord, piano, percussion and strings. The entire work is approximately 17 minutes in duration. The subject for the Variations comes from the Fifteenth Symphony of Shostakovich, last movement. There are many allusions to the writing of Shostakovich in terms of gesture, orchestration, and harmonic structure.

The title is intended to suggest that the work expresses the composer's innermost thoughts and feelings, even though these thoughts and feelings have no concrete realizations or programmatic connotations. It is precisely because of their abstractness that the thoughts and feelings are expressed in music rather than in words or some other concrete mode of communication. The total performance time is approximately twenty minute. The individual movements last about ten, four and one-half and five and one-half minutes, respectively.

The Serenade for Viola and Orchestra is a one-movement composition of three connecting sections with two main themes of contrasting character. The "relatedness" of the sections does not depend on common thematic material, but rather on a system whereby motives evolve out of the thematic material and from elements in preceding sections. The sonorous timbre of the viola is exploited and becomes the central tessitura for the piece. The title is representative of the lyrical nature of the composition as a whole, especially the first and third section.

The first movement material is presented by the ensemble and subsequently developed by the saxophone. A majority of the saxophone passages are supported by the ensemble with unaccompanied solo passages kept to a minimum. The various sections are based more on differences in pitch and rhythm than orchestration and harmony.