Дисертації: "Fidddle"

1

Howell, Les. "Dancing without a fiddle." Theological Research Exchange Network (TREN), 1994. http://www.tren.com.

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2

Žák, Josef. "Fiddle music - úloha houslí v americké lidové hudbě." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2010. http://www.nusl.cz/ntk/nusl-79388.

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My thesis treats the fiddling as the fundament of the Country music. I write about various styles of the fiddle music : old-time music, bluegrass, Irish & Scottish fiddling, French-Canadien style, Texas contest style, Western swing, and about the great fiddlers. I think this dissertation could be an inspiration for violinists in the Czech Republic because this genre of music is not very known there.

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3

Perttu, Melinda Heather Crawford. "A Manual for the Learning of Traditional Scottish Fiddling: Design, Development, and Effectiveness." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1299300924.

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4

Glen, Katherine Marshall. "Expressive microtimings and groove in Scottish Gaelic fiddle music." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/54477.

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This project examines how “groove” can be created through the microtimings of a solo instrument, rather than as discrepancies between multiple instruments or parts, as is often the case in similar studies. Groove is the nuanced rhythmic element of music in which microtiming patterns play upon listeners’ bodies in complex ways and stimulate movement. My study focuses on the reel, a type of dance tune used in the Scottish Gaelic tradition. Despite the repetitiveness and relative simplicity of the melody in this genre, these tunes have been widely played and performed for many years, and this seems to be due, in large part, to their rhythmic features. I analyze five recordings of a popular reel, “Jenny Dang the Weaver,” by different performers, using methodologies typically applied to the jazz canon. Each recording features only a solo fiddle, so any expressive microtimings are the result of the single performer and musical line, not influenced by interaction with other instruments. My analysis demonstrates that these recordings create groove through beat subdivisions and subversion of expected microtiming patterns. The primary method for analysis is a comparison of beat-upbeat ratios (BUR) and upbeat-beat-ratios (UBR) throughout the measure to determine any trends or significant outliers. The analysis shows that these performers, despite their different backgrounds, share certain microtiming trends and patterns (particularly in the performance of beats 2 and 3, and the presence of phenomenal accents on beat 2), which could therefore be understood as characteristic features of the Gaelic style. Conversely, I also demonstrate that while conforming to those patterns, each musician nevertheless has idiosyncrasies of microtiming that distinguish them from each other.
Arts, Faculty of
Music, School of
Graduate

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5

Peat, Maggie. "Second fiddle or second chance? : the significance of grandfatherhood." Thesis, University of York, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.422539.

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6

Campbell, Katherine. "Learning to play Scots fiddle : an adult learning perspective." Thesis, University of Edinburgh, 1999. http://hdl.handle.net/1842/30415.

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This thesis examines how adults learn to play Scots fiddle. It focuses on a group of adults who are members of an intermediate-standard fiddle class in the city of Edinburgh, Scotland. The class is part of the wider contemporary phenomenon in Scotland whereby traditional music is being taught on the fiddle and other instruments in evening classes, workshops and residential courses. Although the current investigation is located within the field of ethnomusicology, insights are also drawn from modern adult learning theory. A review of related literature reveals that, hitherto, studies which have considered settings in which traditional music is formally taught have often chosen to focus on the role of the teacher. As a consequence, considerable emphasis has been given to the concept of transmission. I argue here, however, that the ethnomusicologists' prevailing view of transmission as a transfer of information from a teacher to those being taught may not be the most appropriate framework through which to consider learning, and particularly so where adult learners are concerned. If we are to deepen our understanding of how people learn to play traditional music, we need to understand in greater depth the learner's perspective. The results of the study shed significant insights into the complexity of practice and the importance of this activity for learning the fiddle. The findings also highlight the variable and individual nature of the learning process. In turn, this underlines the inadequacy of the traditionally held view of transmission as a framework for understanding how instrumental skills are taught and learned. The implications arising from this investigation for conceptual understanding in ethnomusicology, adult music education and the formal tuition of traditional music in Scotland are discussed, and topics for further research are indicated.

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7

Beaver, Shirley Ruth Oetjen. "Second fiddle? an interpretive study of followers of servant leaders /." [Ames, Iowa : Iowa State University], 2008.

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8

Stock, Jonathan Paul Janson. "Context and creativity : the two-stringed fiddle erthu in contemporary China." Thesis, Queen's University Belfast, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.334644.

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9

Rancier, Megan Margrey. "The Kazakh qyl-qobyz biography of an instrument, story of a nation /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1930892981&sid=11&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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10

DeRivera, Catherine E. "Conflict over male searching in fiddler crabs /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9956458.

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11

Holmes, Ramona Adella. "A model of aural instruction examined in a case of fiddle teaching /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/11219.

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12

Olson, Ted. "Carroll Best: Old-Time 'Fiddle-Style Banjo' from the Great Smoky Mountains." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/1217.

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Excerpt: In an interview published in the February 1992 issue of The Banjo Newsletter and conducted by bluegrass historian Neil Rosenberg and banjo player and instruction book author Tony Trischka, Carroll Best conveyed the depth of his connections to the instrument he had mastered: “When I was old enough to pick up a banjo I wanted to play.”

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13

Henry, Iain. "Playing Second Fiddle – Australia’s Strategic Policy towards the East Timor Issue, 1998 - 1999." Thesis, Canberra, ACT : The Australian National University, 2012. http://hdl.handle.net/1885/117146.

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The deployment of an Australian-led peacekeeping force to East Timor in September 1999 was arguably the most significant strategic decision faced by an Australian government since the Second World War. The operation posed a grave risk of military conflict with Indonesia, strained the Australia-US relationship and redefined Asian perceptions of Australia. It is therefore important to examine how this scenario arose. Data obtained in thirteen interviews with key Australian decision-makers has revealed new information about Australia’s strategic policy throughout 1998-1999. Despite having advocated an internal political settlement that would have legitimised Indonesia’s incorporation of East Timor, Australia accepted Indonesia’s decision to conduct a self-determination ballot in East Timor as a fait accompli. From this point on Australia’s policy was largely reactive, working not to promote nor prevent independence but rather to ensure that the ballot was credible and accompanied by minimal violence. These efforts had to be delicately balanced against Australia’s primary strategic objectives – Indonesia’s democratic progress and the development of the bilateral relationship. Managing these conflicting objectives throughout 1999 was a significant challenge for Australia. Despite the severe violence that occurred after the ballot, Australia’s strategic policy was managed in an adroit manner that prioritised the most important objectives and avoided worst-case outcomes. Given Australia’s limited strategic options throughout 1998 and 1999, this is not an insignificant achievement.

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14

Houser, Letise T. "The importance of horizontal swimming behavior in maintaining patches of larval crabs." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 1.34 Mb., 156 p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3200543.

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15

Kavanagh, John. "Australian foreign policy under Hawke : "New fiddler - same tune" /." Title page and contents only, 1991. http://web4.library.adelaide.edu.au/theses/09AR/09ark216.pdf.

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16

Bidgood, Lee. "Performance at Music in the Valle Concert Series." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/3256.

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17

Bidgood, Lee, and Andrew Finn Magill. "Performance at Live at Grassy Creek." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/3257.

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18

Bidgood, Lee, Trae McMaken, and Roy Andrade. "Performance at Historic Jonesborough Dance Society Contra Dance." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/3260.

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19

How, Martin J. "The fiddler crab claw-waving display : an analysis of the structure and function of a movement-based visual signal /." View thesis entry in Australian Digital Theses Program, 2007. http://thesis.anu.edu.au/public/adt-ANU20081001.111333/index.html.

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20

Porter, Mark. "Designing out the wicked problem of Playing Related Musculoskeletal Disorders from Irish traditional fiddle playing." Thesis, Ulster University, 2017. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.728380.

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Pioneering research has identified that Playing-Related Musculoskeletal Disorders (PRMDs) are an issue for Irish traditional musicians. The purpose of this research was to analyse the “Wicked Problem” of PRMDs which affects Irish traditional fiddle players, determine key issues, and define appropriately designed solutions which provide a preferred or improved state of play. A design-led mixed methodology was deployed, and three research studies were conducted. As there was limited research to the extent of PRMDs in Irish traditional music, a bespoke survey was employed to build a holistic picture of Irish traditional fiddle players and identify problem areas for design development. The response rate to the study was 77.5% (n = 79). A high prevalence of PRMDs 70.9% (n = 56) was reported. Prolonged playing was highlighted as a significant risk factor. A design brief was established to analyse in-play ergonomic solutions which reduce or prevent the effects of PRMDs associated with prolonged playing time. Secondly, an empathic observation was conducted to further inform the design process by developing product specifications. Findings from the study suggest that the chin rest and shoulder rest are not fit for purpose in this context; the bow hand grip was also highlighted as a problem area. Two new products were designed, including a head and neck support and a hand support. These were validated using a formative usability study. The findings highlighted that both new products high level functions preformed as intended. The positive nature of these findings, indicate that both products have valued benefit in the opinion of Irish traditional musicians. These results indicate that both products may be viable solutions for reducing the extent of wellbeing issues associated with PRMDs, during prolonged playing in Irish traditional fiddle playing. Intellectual property, through patent applications have been established and the commercialisation pathway has begun.

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21

Choi, Kwong-chuen. "The ecology of fiddler crabs (Crustacea: Ocypodidae) at the Mai Po Marshes Nature Reserve, Hong Kong /." [Hong Kong : University of Hong Kong], 1991. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12971820.

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22

Bernath, Victoria Marthe. "'Middle fiddle no more' : British viola concerti and the rise of viola virtuosity (1880 to 1910)." Thesis, University of York, 2015. http://etheses.whiterose.ac.uk/20540/.

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This study investigates the viola as a solo instrument in Britain during the period 1880 to 1910. Current scholarship attributes the increased recognition of the viola and its burgeoning status as a solo instrument to British violist Lionel Tertis from 1910 onwards, disregarding the efforts of foreign-born contemporaries. The lack of scholarship investigating the socio-cultural contexts of the viola in Britain before 1910 perpetuates the notion that violists were, at best, second-rate violinists. However, the late nineteenth century saw a surge of interest in the viola with an awareness of how the middle fiddle’s unique timbral properties might be married with virtuosic technique. Many works featuring the viola as a solo instrument were composed in Britain between 1880 and 1910 and are presented here for the first time. This includes four viola concerti, chamber works for viola-piano, musical novelties, and ten method books, all of which bolstered the technical standard and fledgling profession of violists in Britain. This investigation initially uses archival research to situate the viola in socio-cultural contexts of British music-making. Chapter One reveals examples of viola practitioners and their careers in Victorian concert society (1820 to 1880). Chapter Two uncovers training provision for violists in London conservatoires (1880 to 1910), and Chapter Three illustrates solo violists and their careers in British concert culture (1880 to 1910). The second component of the study is practice-led. Chapter Four considers technical advancements in viola technique. Chapter Five presents a case study which initially investigates aspects of performance practice at the turn of the century relevant to Emil Kreuz’s Concerto for Viola and Orchestra Op.20 (1892) and Cecil Forsyth’s Viola Concerto in G minor (1903). The case study then questions the craft of historically informing the concerti through a comparison of critical and performative interpretations in recorded examples. Concluding statements connect these components to reveal a thriving period in the viola’s history, clarifying misconstrued notions of the instrument’s supposedly impoverished status in British concert culture. Through my original analysis, live and recorded performance, I seek to demonstrate the importance, and to establish a precedent, for performance-based research. By example, I hope to offer new insights for performing these selected viola concerti, and to provide an academic platform to promote performance-based studies at the core of contemporary research methods.

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23

Gulmann, Lara K. 1975. "Gut-associated microbial symbionts of the marsh fiddler crab, Uca pugnax." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/28678.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Biology, 2004.
Page 160 blank.
Includes bibliographical references.
(cont.) bacterial phylotypes. An exception was the U. pugnax hindgut phylotype most closely related to a phylotype identified from hindguts of the detritivorous shrimp Neotrypaea califomiensis. This finding suggests that detritivorous crustacean hindguts may provide an ecological niche for specific bacterial phylotypes. Functionally, resident bacteria, particularly in the hindgut, may contribute to total enzyme activity in the gut of their host.
Digestive associations between marine invertebrates and resident (attached) microbial communities may play a critical role in host physiology and involve previously unidentified microbial species. The overarching goal of this thesis was to characterize the ecology and genetic diversity of resident gut microbes to advance our understanding of their interactions with their host, the marsh fiddler crab, Uca pugnax. Furthermore, we assessed whether microbes benefit the host by contributing extracellular enzymes along the digestive tract. This is the first report of the eccrinid protists, Enteromyces callianassae and Enterobryus sp., inhabiting U. pugnax. The greatest abundances of both bacteria and protists were documented in the host stomach and hindgut. For these sections, we have described morphologies, measured abundances and characterized the genetic diversity (bacteria) of resident microbes. Presence and abundance of the Eccrinales protists depends on host molt stage as all eccrinid biomass is shed with the host's molt. In intermolt crabs, both bacterial and protozoan symbionts appear to be consistent features of the stomach and hindgut. Furthermore, bacterial diversity patterns seem to be comparable among individuals and over time, as assessed by denaturing gradient gel electrophoresis (DGGE). Community composition, however, does differ between stomach and hindgut populations, as resolved by DGGE and clone libraries of the 16S rRNA gene. Many recovered clones were most closely related to other symbiotic or gut-associated bacteria. Few identified clones, however, shared more than 95% 16S rRNA gene sequence similarity with their nearest known relatives, indicating that this environment may support novel
by Lara K. Gulmann.
Ph.D.

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24

Ijas, Kaapo. "Finding the inner fiddler : Folk music influences in Sibelius’ 7th Symphony." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2489.

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25

Weese, David Andrew. "Molecular population genetics of the Atlantic sand fiddler crab, Uca pugilator, along the Atlantic Coast." Click here to access thesis, 2006. http://www.georgiasouthern.edu/etd/archive/fall2006/david_a_weese/weese_david_a_200608_ms.pdf.

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Thesis (M.S.)--Georgia Southern University, 2006.
"A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Science" ETD. Includes bibliographical references (p. 31-35)

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26

Skov, Martin Wiggers. "Reproduction and feeding ecology of East African mangrove crabs, and their influence on forest energy flow." Thesis, University of Liverpool, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250459.

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27

Hubbard, Charles Robert. "A comparison of invasive and non-invasive techniques for emasuring fiddler crab density in a salt marsh by Charles R. Hubbard." Click here to access thesis, 2008. http://www.georgiasouthern.edu/etd/archive/fall2008/charles_r_hubbard/Hubbard_Charles_R_200808_MS.pdf.

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Thesis (M.S.)--Georgia Southern University, 2008.
"A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Science." Directed by Sophie B. George. ETD. INDEX WORDS: Fiddler crabs, Population density, Salt marsh, Survey techniques Includes bibliographical references (p. 28-30) and appendices.

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28

Macdonald, Robert. "Music from the Dead: The Tune Making of John MacDougall." DigitalCommons@USU, 2009. https://digitalcommons.usu.edu/etd/414.

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Cape Breton, Nova Scotia has been a stronghold of active and integrated community traditions of Scotch-Gaelic music and dance since it was settled by large numbers of Scottish emigrants in the nineteenth century. Though these emigrants brought with them an extensive store of tunes common to the Highlands of Scotland, the majority of them were carried in the collective oral memory. Consequently, the traditional Scottish repertoire of Cape Breton fiddlers steadily declined as generations of fiddlers who never learned to read or write music died. In the nearly two centuries that Scots have populated the island, there have been many gifted Cape Breton tune composers. Of these, certainly the most prolific is `old style' fiddler John MacDougall. To date his output numbers over forty thousand tunes. It is not just the staggering quantity of tunes however, that makes MacDougall's composing noteworthy, but his extraordinary claim that he does not write them himself. MacDougall insists that he simply records the tunes whole as they are given to him from the spirits of Cape Bretoners who have long since passed away. This paper examines the connection between MacDougall's tune `making' and the supernatural as an extension and a Christianized revision of a traditional Scottish motif that connects music making with fairylore. It suggests that MacDougall's modernized version of this motif serves to legitimize his large body of tunes to a community of fiddlers that, following in the footsteps of their forbearers, place enormous value on tune authenticity and correctness.

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29

Neff, Eoghan. "At the vanguard of antiquity : seeking the avant-garde of the Irish Fiddle in C20th performance practices." Thesis, Cardiff University, 2012. http://orca.cf.ac.uk/36644/.

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This thesis examines twentieth-century Irish fiddle performance practices in the search for the avant-garde of Irish traditional music. The central analysis focuses on processes of music structuring, particularly at a macro-structural level. Music structure defines the “terms of tradition” by way of permanent symmetric constructs, whereas it defines the avant-garde by way of transitory asymmetric constructs. If musical individualism is represented exclusively by traditional micro-structural ornaments that are inconsequential to traditional macrostructure, then the musical individual contributes to the permanency of macrostructure under of the terms of tradition. Instead, the avant-garde fiddler seeks musical transitoriness where macrostructure can define and redefine, or be defined and redefined by, both itself and its micro-structural parts throughout the progression of a single musical event. The determining nature of the fiddler’s musical interaction with the fiddle is that both human and artefact follow (thus become influenced by) the procedural dimensions of each other. Therefore, the method of analysis in this thesis has an ergonomic basis, which furthermore benefits from the emic perspective and practical expertise of its author. Accordingly, some of the more demanding performances by a selection of the country’s leading exponents are drawn upon to illustrate distinct aspects of where the fiddle instigates the negation of traditional modes of music structuring. Each example represents a different quarter point of the last century. Ultimately, this thesis not only provides a clearer and more radical conception of the musical past, but it also provokes a traditional music avant-garde that emerges from inside fiddle performance practices of the recent century.

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30

Yeagle, Kalia. "Devil in the Strawstack, Devil in the Details: A Comparative Study of Old-Time Fiddle Tune Transcriptions." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3743.

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This thesis asks what transcriptions of old-time fiddle tunes might tell us about their underlying purposes and the nature of transcription. How could differing approaches to transcription reflect the intentions of the author, and what are those intentions? What does this suggest about how aural information is prioritized? Through a comparative analysis of three transcriptions of the same recording—Tommy Jarrell’s “Devil in the Strawstack”—this thesis examines how musical information is prioritized and how transcribers have adapted their methods to better reflect the nuances of old-time music. The three transcriptions come from Clare Milliner and Walt Koken (The Milliner-Koken Collection of American Fiddle Tunes), Drew Beisswenger (Appalachian Fiddle Tunes), and John Engle. The analysis of these transcriptions suggests new frameworks for interpreting old-time fiddling, further conversations about the possibilities and limitations of transcription, and provides insight into the underlying purposes of transcription.

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31

Hong, Luke. "Spatial navigation in fiddler crabs: Goal oriented path integration of Uca pugilator." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1384850701.

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32

Fiddeke, Katharina [Verfasser]. "Evaluierung von Nukleoprotein-kodierenden AAV Vektoren als breitenwirksame Influenza-Impfstoffe / Katharina Fiddeke." Berlin : Freie Universität Berlin, 2017. http://d-nb.info/1125450339/34.

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33

Muramatsu, Daisuke. "Mating investment for sand structure construction by the fiddler crab Uca lactea." 京都大学 (Kyoto University), 2009. http://hdl.handle.net/2433/124456.

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34

Stueckle, Todd Alan. "An evaluation of the non-target effects of mosquito control pesticides on Uca pugnax physiology, limb regeneration and molting processes." Morgantown, W. Va. : [West Virginia University Libraries], 2008. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=5767.

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Thesis (Ph. D.)--West Virginia University, 2008.
Title from document title page. Document formatted into pages; contains xv, 239 p. : ill. (some col.). Vita. Includes abstract. Includes bibliographical references.

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35

MacDonald, Jennifer Marie. ""Devil on the fiddle" : the musical and social ramifications of genre transformation in Cape Breton music." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99381.

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In 1995, fiddler Ashley MacIsaac released the album Hi, How Are You Today? that featured MacIsaac performing traditional Celtic tunes accompanied by modern rock instruments. The musical genre transformation on the album (notable because people who were not fans of Celtic music bought this album, tracks were released for airplay, and music videos accompanied the singles) can be studied according to the types of genre transformation outlined by Alastair Fowler in Kinds of Literature. If MacIsaac's goal was to offer a popular rock album while playing traditional tunes on the fiddle, critics and members of his audience inevitably questioned his motivation, from which charges of pandering and exploitation followed. Alternate interpretations stressed that MacIsaac was merely adapting traditional music to reflect a changing musical climate. This thesis examines such perspectives, along with the global phenomenon of modernizing folk music amidst the ambiguous boundary between popular and folk musical genres.

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36

Gilreath, Heather Rhea. "Coming Home, Staying Put, and Learning to Fiddle: Heroism and Place in Charles Frazier's Cold Mountain." [Johnson City, Tenn. : East Tennessee State University], 2004. http://etd-submit.etsu.edu/etd/theses/available/etd-0716104-120033/unrestricted/GilreathH081004f.pdf.

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Thesis (M.A.)--East Tennessee State University, 2004.
Title from electronic submission form. ETSU ETD database URN: etd-0716104-120033 Includes bibliographical references. Also available via Internet at the UMI web site.

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37

Michie, Laura. "Investigating the coexistence of fiddler crabs in the Wakatobi Marine National Park, Indonesia." Thesis, University of Portsmouth, 2017. https://researchportal.port.ac.uk/portal/en/theses/investigating-the-coexistence-of-fiddler-crabs-in-the-wakatobi-marine-national-park-indonesia(c7645e39-0e5c-4df4-be13-7735e85b9773).html.

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The coexistence of ten species of fiddler crab was studied at Ambeua, on the island of Kaledupa, Indonesia. This remarkable level of biodiversity has been used to investigate the species-specific differences that support coexistence. Through studying their morphology, behaviour and the structure of their habitat it can be seen that they occupy distinct but overlapping niches. Each species is described and studied in detail, with notes and imaging based on morphology, phylogenetics, ecology and behaviour. Phylogenetic analysis was conducted using the cytochrome oxidase subunit I and sequences provided strong evidence to support classification. Five transects were delimited in the area of coexistence as well as four outside of this area. Shore height profiles, shading and substrate type were quantified for all transects. Mouthpart morphology was analysed to determine whether associated substrate type correlated with mouthpart morphology. Tubuca coarctata, Tubuca demani, Tubuca dussumieri, Paraleptuca crassipes, and Austruca triangularis were all active in shaded areas and on fine muddy substrates. Austruca cryptica and Austruca mjoebergi were active in unshaded/open areas on sandy substrates, whilst Gelasimus jocelynae, Gelasimus tetragonon and Austruca perplexa were found in both shaded and unshaded areas on sandy substrates. Morphological analysis showed that Tubuca coarctata, Tubuca demani, Tubuca dussumieri, Paraleptuca crassipes, Austruca triangularis, Gelasimus jocelynae and Gelasimus tetragonon all had mouthparts associated with finer sediments whilst Austruca cryptica, Austruca perplexa and Austruca mjoebergi had mouthparts associated with coarser sediments. Detailed analysis of distribution, individual home ranges and nearest neighbours revealed numerous interspecific overlaps and interactions. The close proximity of the local village increases habitat heterogeneity, with crabs recorded living underneath the stilted houses. These anthropogenic factors are directly altering the ecosystem, increasing niche availability and allowing crabs to dwell in places otherwise uninhabitable.

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38

Didion, Jeremiah E. "Spectral Sensitivity Underlying Two Different Visual Behaviors in the Fiddler Crab, Uca Pugilator." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin156387282269598.

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Rooney, David, and n/a. "Playing Second Fiddle: A History of the Relationship Between Technology and Organisation in the Australian Music Economy (1901-1990)." Griffith University. School of Arts, 1996. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20050920.154417.

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This thesis is a socio-economic history of the relationship between music technology and organisational practices in twentieth-century Australia. It argues that the history of technology in the Australian music economy is dependent not only upon the changing technical characteristics of musical instruments and electronic consumer goods but also upon government policy-making, management practices in music technology manufacturing firms and patterns of music technology consumption. The thesis examines economic statistics regarding the import, export and local production of music technology in Australia. The economic statistics have not previously been examined in relation to the history of music technology in Australia. The historical analysis is structured according to a four-part periodisation which includes the Electric Age (1901-1930), the Electronic Age (1930-1950), the Transistor Age (1950-1970) and the Information Age (1970-1990). This periodisation enables the analysis to continually be refocussed as the key technological and socio-economic dynamics change. With this perspective, the history of the relationship between technology and organisation in the Australian music economy has been demonstrated to be dependent on a number of key technological changes. The thesis examines changes including the shift from acoustic to electric recording; the development of transistor-based consumer electronics goods; and the advent of digital information technology. However, a number of key social determinants, particularly organisational modes, are examined including changes from protectionist to more deregulated trade policy; lack of business skills in areas such as marketing, manufacturing technique and industrial research and development; and the development of a sense of popular modernity which is expressed in the consumption of new, technically advanced and glamorous music technology. In addition to the new perspectives on the history of music technology provided by the analysis of empirical economic data, this thesis contributes to the historiography of technology. The analytical framework it proposes locates music technology within what is described as an assemblage of technologies: technologies of production, technologies of sign systems, technologies of power and technologies of the self. This approach makes clear the interdependence of technological and social factors, and the inadequacy of narrow technological determinist and social constructivist accounts. The notion of an assemblage of technologies is further embellished by drawing upon key elements of recent theories of systems analysis: the seamless web, evolution and chaos theory. Through this analytical framework and the socio-economic analysis of the relationship between music technology and organisational practices, the thesis demonstrates that the history of technology cannot be understood unless it is seen as part of a complex and interacting technical, social, economic and institutional system.

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40

Bidgood, Lee, and The Iron Mountain Messengers. "Performance at Arts Center." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1068.

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Bidgood, Lee, and ETSU Faculty Band. "Performance at Music on the Lawn concert." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1067.

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Bidgood, Lee, and Joseph Sobol. "Performance at Historic Jonesborough Dance Society Contra Dance." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1061.

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Bidgood, Lee, and Great Smokey Mountain Bluegrass Band. "Performance at Feed and Seed." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1074.

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44

Bidgood, Lee, and Joseph Sobol. "In the Deep Heart’s Core." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1059.

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Bidgood, Lee, and Smoky Mountain Bluegrass band. "Performance At St. John's Episcopal Church." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/1053.

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Bidgood, Lee, and Great Smokey Mountain Bluegrass Band. "Performance at Bluegrass on Broad Concert Series." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1066.

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Bidgood, Lee, Richard Ciferský, and Banjo Romantika Band. "Banjo Therapy." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1076.

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Bidgood, Lee, and Hasee Ciaccio. "Performance at the Willow Tree Coffeehouse." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1055.

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Bidgood, Lee, and ETSU Old Time Band. "Performance at Rhythm and Roots Reunion Festival." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1078.

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50

Bidgood, Lee. "In the Deep Heart’s Core: A Mystic Cabaret by Joseph Sobol." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1052.

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A cycle of songs and spoken pieces from the verses and essays of Ireland's master poet, W. B. Yeats, In the Deep Heart’s Core is a stunning evening of musical theatre. The Chicago Tribune called it "A joy--poetry to the ears, alternately tender and rousing." Featuring Joseph Sobol and original cast member Kathy Cowan. Performers include Lee Bidgood, Dominic Aquilino, Clara Ray Burrus, and Robbie Link.

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