Matching Items (15)

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Translation and Cultural Analysis of the Greek TV Show Sto Para Pente

Description

The bulk of this thesis is the translation itself—of Episodes 8-10—with timed subtitles. However, I also wanted to provide commentary on a few issues of interest that I came across

The bulk of this thesis is the translation itself—of Episodes 8-10—with timed subtitles. However, I also wanted to provide commentary on a few issues of interest that I came across during the translation. Conveying meaning from one language to the other does not simply involve translating the denotations of each word, but also the social context, humor, tone, and other aspects surrounding the situation. Whether words are used individually to interject, or come together to form unique idioms or phrases, the challenge presented to the translator is the choices: what words do I select to best convey not only the dictionary sense, but also the contextual meaning? This is especially difficult in wordplay-type situations. If there’s no perfect option, can I find a cultural analog that differs from the original denotation, but preserves the intention of the words? Otherwise, do I find the original important enough that it is worth educating the reader in order to preserve it—or, do I see no other translation option but to educate as a last resort? These are all choices that I had to make, and in this thesis I will be discussing the most interesting situations that came up, and my choices in dealing with them.

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Date Created
  • 2020-05

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Developing a Sensor Worm Strain to Detect Cleavage and Polyadenylation in vivo

Description

Alternative polyadenylation (APA) is the biological mechanism in which the same gene can have multiple 3'untranslated region (3'UTR) isoforms due to the presence of multiple polyadenylation signal (PAS) elements within

Alternative polyadenylation (APA) is the biological mechanism in which the same gene can have multiple 3'untranslated region (3'UTR) isoforms due to the presence of multiple polyadenylation signal (PAS) elements within the pre mRNAs. Because APA produces mRNA transcripts that have different 3'UTR isoforms, certain transcripts may be subject to post-transcriptional regulation by regulatory non-coding RNAs, such as microRNAs or RNA binding proteins defects of which have been implicated in diseases such as cancer. Despite the increasing level of information, functional understanding of the molecular mechanisms involved in transcription is still poorly understood, nor is it clear why APA is necessary at a cell or tissue-specific level. To address these questions I wanted to develop a set of sensor strain plasmids capable of detecting cleavage and polyadenylation in vivo, inject the complete sensor strain plasmid into C. elegans and prepare stable transgenic lines, and perform proof-of-principle RNAi feeding experiments targeting genes associated with the cleavage and polyadenylation complex machinery. I demonstrated that it was possible to create a plasmid capable of detecting cleavage and polyadenylation in C. elegans; however, issues arose during the RNAi assays indicating the sensor strain plasmid was not sensitive enough to the RNAi to effectively detect in the worms. Once the problems involved with sensitivity and variability in the RNAi effects are resolved, the plasmid would be able to better address questions regarding the functional understanding of molecular mechanisms involved in transcription termination.

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Created

Date Created
  • 2015-05

Ernest Bloch’s Suites for Solo Cello: A Transcription for Solo Viola, Performer’s Edition, and Recording

Description

Ernest Bloch’s Suites for Solo Cello (B. 93, 94, 97) contain a melodic-harmonic language unlike any other twentieth-century unaccompanied work, and when transcribed for viola, become meaningful additions to the

Ernest Bloch’s Suites for Solo Cello (B. 93, 94, 97) contain a melodic-harmonic language unlike any other twentieth-century unaccompanied work, and when transcribed for viola, become meaningful additions to the existing viola repertoire. Each movement within these three works has its own distinct dancelike character, much like J.S. Bach’s Suites for Solo Cello (BWV 1007-1012). The melodies contain a persistent lyrical quality, and the harmonies are modal and reminiscent of folk music. Rather than compose an appropriate ending to Bloch’s incomplete Suite for Solo Viola (B. 101), a transcription of Bloch’s Suites for Solo Cello provides violists with more variety and opportunity for musicianship. These works present technical challenges such as rapid string crossings, sudden and vast register changes, complex rhythms and meter, and offer interpretationally rich passages. The level of these difficulties can prepare violists for more challenging twentieth-century works; thus, transcribing the Bloch Suites provides an opportunity to bridge a pedagogical divide in solo viola repertoire.
This project includes the transcriptions of Bloch’s Suites for Solo Cello, a performance edition, and a recording. Included is an overview of why these works are suitable for the viola, how these arrangements help fill a pedagogical gap in the unaccompanied viola repertoire, and insight into the transcription process. The performance recording captures the accessibility of these works for violists wishing to perform them and shows the integrity and variety of each piece by programming them all on a single recital.

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Created

Date Created
  • 2020

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Promoter Identification in Daphnia Populations Revealed by Transcription Start Site Profiling

Description

Regulation of transcription initiation is a critical factor in the emergence of diverse biological phenotypes, including the development of multiple cell types from a single genotype, the ability of organisms

Regulation of transcription initiation is a critical factor in the emergence of diverse biological phenotypes, including the development of multiple cell types from a single genotype, the ability of organisms to respond to environmental cues, and the rise of heritable diseases. Transcription initiation is regulated in large part by promoter regions of DNA. The identification and characterization of cis-regulatory regions, and understanding how these sequences differ across species, is a question of interest in evolution. To address this topic, I used the model organism Daphnia pulex, a well-characterized microcrustacean with an annotated genome sequence and selected a distribution of well-defined populations geographically located throughout the Midwestern US, Oregon, and Canada. Using isolated total RNA from adult, female Daphnia originating from the selected populations as well as a related taxon, Daphnia pulicaria (200,000 years diverged from D. pulex), I identified an average of over 14,000 (n=14,471) promoter regions using a novel transcription start site (TSS) profiling method, STRIPE-seq. Through the identification of sequence architecture, promoter class, conservation, and transcription start region (TSR) width, of cis-regulatory regions across the aforementioned Daphnia populations, I constructed a system for the study of promoter evolution, enabling a robust interpretation of promoter evolution in the context of the population-genetic environment. The methodology presented, coupled with the generated dataset, provides a foundation for the study of the evolution of promoters across both species and populations.

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Created

Date Created
  • 2020

A transcription of four viola works by York Bowen for clarinet and piano

Description

Works for clarinet in the twentieth century exist in abundance; furthermore, the number of extant works from the Classical period is substantial. However, works for solo clarinet in the late-Romantic

Works for clarinet in the twentieth century exist in abundance; furthermore, the number of extant works from the Classical period is substantial. However, works for solo clarinet in the late-Romantic style are lacking; most of the significant literature for clarinet is contained in orchestral works. Therefore, the purpose of this project is to add to the solo clarinet repertoire of the late Romantic-style through the transcription of works written originally for viola. The four works transcribed for this project are by York Bowen. Bowen was a British composer and pianist who taught at the Royal Academy of Music in England. Although his career flourished in the twentieth century, his music reflects the music of the late-Romantic style. The project includes a transcription of Bowen's Sonata No. 1 in C minor, Op. 18 for viola and piano, Sonata No. 2 in F major, Op. 22 for viola and piano, Romance in D-flat for viola and piano, and Phantasy in F, Op. 54 for viola and piano. Additionally, a brief examination of Bowen's life, an overview of each piece, details regarding transcription parts, a list of changes made to the original part, and a recording of each transcription is included in the document.

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Created

Date Created
  • 2011

A Transcription of Rebecca Clarke’s Sonata for Viola and Piano for Clarinet and Piano by Johnathan Christian Robinson

Description

Throughout centuries of great classical music, many clarinet compositions have been adapted from a wealth of literature for string instruments and instruments of similar ranges. Viola, violin, and cello literature

Throughout centuries of great classical music, many clarinet compositions have been adapted from a wealth of literature for string instruments and instruments of similar ranges. Viola, violin, and cello literature can often be adapted into challenging literature for the clarinet. While the works of English composer and violist, Rebecca Clarke (1886-1979), have gained popularity in the early 2000s, many of her compositions have yet to be discovered by musicians performing on wind instruments of similar ranges.

While legendary western composers such as Mozart, Weber, and Brahms, will continue to be enduring icons in classic clarinet literature, performers and educators alike should always consider the integration of transcribed works for the expansion and diversity of the repertoire. Although a sizeable amount of literature for clarinet is contained in orchestral and chamber works of the late-Romantic era, the availability of solo clarinet literature in this style is lacking. The purpose of the project is the addition of Rebecca Clarke’s 1919 Viola Sonata for B-flat soprano clarinet and piano to the solo clarinet repertoire. The transcription preserves the integrity of the original music while exploring the virtuosic nature of the clarinet and its interaction with the piano. Comments on the historical background of Clarke’s Viola Sonata and the transcription procedures are provided as well.

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Created

Date Created
  • 2019

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Adding to the Bass Clarinet Repertoire Through Informed Transcription

Description

The bass clarinet, developed almost a century after the soprano clarinet, isrelatively young compared to many modern instruments and consequently possesses a
comparatively small repertoire. Until the mid-20th century, composers

The bass clarinet, developed almost a century after the soprano clarinet, isrelatively young compared to many modern instruments and consequently possesses a
comparatively small repertoire. Until the mid-20th century, composers did not view the
bass clarinet as a solo instrument and instead perceived it as cumbersome due to its low
pitch and predominant use as an accompaniment instrument, resulting in a dearth of solo
repertory for the bass clarinet before this time. Bass clarinetists desiring to perform
repertoire from the Baroque, Classical, and Romantic periods must then appropriate
music from other instruments. Through this study, I identify and detail a process for
creating informed transcriptions of music for the bass clarinet to increase its body of solo
and chamber literature. I examine the original scores and existing transcriptions of
Concerto in C minor by Henri Casadesus (attributed to Johann Christian Bach) for cello,
Bassoon Concerto Op. 75 by Carl Maria von Weber, Trios, Hob. IV:1-4 “London Trios”
by Joseph Haydn, Kol Nidrei, Op. 47 by Max Bruch, and Clarinet Concerto in A Major,
K. 622 by Wolfgang Amadeus Mozart to identify methods for the transcription process. I
compare this to the transcription process for other instruments through examination of the
Clarinet Sonatas, Op. 120, Nos. 1 and 2 by Johannes Brahms, which were transcribed
from clarinet to viola by the composer himself. In this document, I discuss the historical
background of the selected pieces, the selection process, editing considerations,
performance practice, and the usage of transcriptions as a pedagogical tool. Although
transcriptions for the bass clarinet already exist, appropriation of music from other
instruments will continue to supplement and diversify its repertoire. These pieces serve to
develop important technical and musical skills and allow the bass clarinetist to play
music across various style periods. In this project, I select and transcribe three pieces for
the bass clarinet: Sonata for Cello No. 1 in F Major by Benedetto Marcello, Grand
Concerto for Bassoon and Orchestra by Johann Nepomuk Hummel, and Serenade in F
minor, Op. 73, by Robert Kahn. The transcribed scores are included in the appendices of
this document.

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Created

Date Created
  • 2020

A pedagogical guide to the teaching of selected transcriptions of trombonist Ralph Sauer (b. 1944): : annotations, exercises, and recording

Description

The purpose of this project was to provide a pedagogical resource for students and teachers that highlights selected transcriptions of former Los Angeles Philharmonic principal trombonist Ralph Sauer (b. 1944),

The purpose of this project was to provide a pedagogical resource for students and teachers that highlights selected transcriptions of former Los Angeles Philharmonic principal trombonist Ralph Sauer (b. 1944), and how those works can be used in an applied instruction setting. The compositions include Bartók’s Romanian Folk Dances, Debussy’s Syrinx, Pergolesi’s Sinfonia in F, Sonata in B-flat by Mozart, and Saint-Saëns The Nightingale.

The sections dealing with pedagogical concepts are presented as conversationally as possible to facilitate ease of understanding by teachers of any background and level. Educators who are not trombonists or are otherwise not wholly familiar with the presented repertoire can still able to borrow phrasing directly from the document. The musical examples enable teachers to quickly identify sections of the work that may prove useful to students. At the time of this writing, there are no commercially available recordings of the chosen pieces as they appear from the publisher. Therefore, the recording is intended to render the music exactly as it is printed in the published version, and to be as free of personal musical interpretation as possible. The works were chosen to cover a range of ability levels, from early college through the graduate level. All the included pieces are published, as of July 2019, and available for purchase online from Cherry Classics Music.

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Created

Date Created
  • 2019

Transcribing Al Grey: a legacy defined by thirteen improvisations

Description

The study of artist transcriptions is an effective vehicle for assimilating the language and style of jazz. Pairing transcriptions with historical context provides further insight into the back story of

The study of artist transcriptions is an effective vehicle for assimilating the language and style of jazz. Pairing transcriptions with historical context provides further insight into the back story of the artists' life and method. Innovators are often the subject of published studies of this kind, but transcriptions of plunger-mute master Al Grey have been overlooked. This document fills that void, combining historical context with thirteen transcriptions of Grey's trombone features and improvisations. Selection of transcribed materials was based on an examination of historically significant solos in Al Grey's fifty-five-year career. The results are a series of open-horn and plunger solos that showcase Grey's sound, technical brilliance, and wide range of dynamics and articulation. This collection includes performances from a mix of widely available and obscure recordings, the majority coming from engagements with the Count Basie Orchestra. Methods learned from the study of Al Grey's book Plunger Techniques were vital in the realization of his work. The digital transcription software Amazing Slow Downer by Roni Music aided in deciphering some of Grey's more complicated passages and, with octave displacement, helped bring previously inaudible moments to the foreground.

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Agent

Created

Date Created
  • 2011

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Three suites for cello opp. 72, 80, and 87 by Benjamin Britten: transcribed for guitar

Description

This project covers the transcription of Three Suites for Cello, opp. 72, 80, and 87, by Benjamin Britten, for guitar. These suites were chosen because of the influence of Bach,

This project covers the transcription of Three Suites for Cello, opp. 72, 80, and 87, by Benjamin Britten, for guitar. These suites were chosen because of the influence of Bach, which is seen in the texture of the pieces, and because they can be played on guitar with very few changes. Music for unaccompanied cello has a history of being transcribed for guitar, including the Bach cello suites, and is a means for guitarists to expand the repertoire. In addition to documenting the changes made in adapting these pieces for guitar, a brief biographical sketch of the composer and descriptions of each movement are included. Also explained are articulation symbols and terminologies that are uncommon in music written for the guitar, and suggestions on how to perform the multitude of ornaments Britten has written in the score.

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Agent

Created

Date Created
  • 2012